Cave Temple inscriptions, pl. 44-49. Platinum print showing two side of grant. Close view of architectural fragments, including columns. Figure of Buddha (face missing) in bhumisparsa mudra, with smaller Tara figure on the right (also lacking face). Interior of room, constructed from masonry blocks, with window at right. Interior view of room, looking towards an arched window recess, with stone seats on either side. Standing figure (headless). This print is made from a negative originally comprising prints 184-185: see Photo 102 (125) for a print made before the negative was divided in two. View looking towards ruins on the summit of a hill. View of four standing columns, with architrave, frieze and cornice above. With two members of the expedition posed at the right. With 10""x12"" glass copy negative. Negative stored in Neg. Box 112. '...[The Bhima Ratha] represents the largest of the five Raths, and the third in succession...This view is taken on the east, or seaside'. Duplicate (later printing) of Photo 1000 (3089). Another copy at Photo 212/5 (35). '...[The Dharmaraja Ratha] represents the fourth Rath or Monolithic Temple'. Duplicate (later printing) of Photo 1000 (3091). Another copy at Photo 212/5 (37). '...A large cemetery exists to the east of the royal deer park in the fort, and the tombs represented in the photographic view are part of it, and form an eminently picturesque group among the old tamarind trees. They are very numerous, and in a variety of designs: some being covered, others, like that in the foreground, large platforms of dressed stone...None of them bear inscriptions or dates, and there is no memorial legend attached to them further than that they were the tombs of the ladies of the royal harems.' '...A male figure carved on the pillar on the left as we leave this porch'. Duplicate (later printing) of Photo 1000 (2945). Another copy at Photo 212/2 (5). '...another representation of Shiva, as is clearly indicated by the bull against which he is leaning: but having only two arms it must be in some of his incarnations as a mortal, to which it is difficult to apply a designation'. Duplicate (later printing) of Photo 1000 (3027). Another copy at Photo 212/4 (9). '...another view of the largest Monolith taken on the other side, or [south-]west side...' Duplicate (later printing) of Photo 1000 (3090). Another copy at Photo 212/5 (36). '...An upright slab of black stone upon which is carved, in bold relief, a naga or five-hooded serpent, while round the margin or frame runs a short inscription in letters which seem to belong to the second century A.D. It records the gift of a naga, a tank and a monastery by Mahabhoji Sivakhadanagasiri, the daughter of the great king. The naga was made by Nataka, the pupil of Acharya Idamoraka of the town Samjayanti.' (Cousens, p. 128). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1358). '...An upright slab of black stone upon which is carved, in bold relief, a naga or five-hooded serpent, while round the margin or frame runs a short inscription in letters which seem to belong to the second century A.D. It records the gift of a naga, a tank and a monastery by Mahabhoji Sivakhadanagasiri, the daughter of the great king. The naga was made by Nataka, the pupil of Acharya Idamoraka of the town Samjayanti.' (Cousens, p. 128). '...a representation of Shiva, probably ar Bhairava, with the elbow of his left arm resting on the body of the cobra..'. Duplicate (later printing) of Photo 1000 (3024). Another copy at Photo 212/4 (6). '...a representation of the Goddess Kali, or Minakshi, the wife of Shiva, with all her usual attributes'. Duplicate (later printing) of Photo 1000 (3022). Another copy at Photo 212/4 (4). '...At the south end of the passage...at the west end of the porch. It represents Shiva dancing, and exulting at his victory over the slaughtered Tripurasura, whose body he is trampling on.' Duplicate (later printing) of Photo 1000 (2931). Another copy at Photo 212/1 (32). '...a view of another portion of the Upper Storey of the Palace. It comprises the bed-room and dressing-room of the Maharaja...'. Duplicate (later printing) of Photo 1000 (3032). Another copy at Photo 212/4 (14). '...a view of the exterior of the Drawing-room suite used on state occasions, in which visitors of distinction are received. It is literally crammed inside with furniture to such an extent that it is almost impossible to move. The walls are covered with pictures of himself [the Maharaja], Lord Harris, and other celebrities...'. Duplicate (later printing) of Photo 1000 (3031). Another copy at Photo 212/4 (13). '...a view of the figure on the extreme left of anyone entering, and represents the Narasinha or man lion, the fourth Avator of Vishnu, being the the form in which he appeared to punish the wickedness of a king who would have slain his righteous son...'. Duplicate (later printing) of Photo 1000 (3021). Another copy at Photo 212/4 (3). '...Belonging to the Digambara Jaina community. At present their principal temple is a very modern one in the village, but this was the original temple...The plan of the shrine is star-shaped and the walls are decorated with bands of arabesque, no images being carved except in the three principal niches, and these were loose and detachable if necessary...The temple gives one the impression of being unfinished...Interference with the shrine during the contentions between the rival Muhammadan powers of the Dakhan may have necessitated its final abandonment, and the erection of a temple in the heart of the village provided with underground cells. This probably happened when they were adding the hybrid style brick sikhara, which again was left unfinished...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 3). '...gives a more detailed view of the second Pillar at the entrance. It represents the fabulous animal, the Yali, standing on an elephant crouching on the ground'. Duplicate (later printing) of Photo 1000 (3060). Another copy at Photo 212/5 (5) '...Is said to represent the wife of the man shown in 359 [print 3008]. She at the same carried off a prince, as here shown. There seems little doubt, however, that these four figures are really intended to represent celebrated jugglers or acrobats performing their tricks'. Duplicate (later printing) of Photo 1000 (3009). Another copy at Photo 212/3 (30). '...Is the corresponding view to the last, taken from nearly the same spot, but looking north instead of south. The square pavilion in the centre marks the junction of the two porticos on this side...'. Duplicate (later printing) of Photo 1000 (3124). Another copy at Photo 212/6 (26). '...represents Shiva in the most dreaded of his incarnations, as Vira Bhadra, the destroyer'. Duplicate (later printing) of Photo 1000 (3028). Another copy at Photo 212/4 (10). '...represents Shiva or Mahadeva exulting over the destruction ot Tripurasura on whose body he is trampling'. Duplicate (later printing) of Photo 1000 (3023). Another copy at Photo 212/4 (5). '...Represents the interior of the building called the Tuncum, situated outside the town on the opposite side of the river; it is called the 'Tuncum', and was built by Trimul Nayak in 1630 for witnessing cock-fights. It was in 1868 occupied by the Judge of Madura...' This view looks across the room, furnished in European style, and towards a vista of cusped arches. At the right stands a European couple - presumably the judge of Madura and his wife - she seated at a musical instrument (?a spinet), he standing at her shoulder. ASIO Record No. 2975. The judge at Madurai in 1868 was Edward Croft Greenway Thomas (b.1829). Duplicate (later printing) of Photo 1000 (2975). Another copy at Photo 212/2 (35).Exhibited Museum of Sydney. Imagining India, 16 May - 17 August 1997. '...Represents the interior of the Swerga Vilasam or celestial pavilion, which formerly formed the throne-room or hall of audience...The tables, chairs, &c., shown in the photograph, are those used by the court during its sittings'. With punkahs on a wooden framework above the seating. Duplicate (later printing) of Photo 1000 (2969). Another copy at Photo 212/2 (29). '...Represents the paintings covering the wall at the west side...The subject is the defeat of a detachment of English troops under Colonel Baillie who while on their march to Trichinopoly, were attacked by a body of Mahratta Horse under Hyder Ali and cut to pieces...' Duplicate (later printing) of Photo 1000 (3100). Another copy at Photo 212/6 (2). '...represents Vishnu, combined with Shiva, then called Hari Heri'. Duplicate (later printing) of Photo 1000 (3025). Another copy at Photo 212/4 (7). '...The amount of labour and time which must have been bestowed in covering this buttress with its lace-like tracery is truly astonishing. It is richer than the richest of the many sides of this wonderful Temple. The delicacy and minuteness of the carving of this buttress, far excels the elaborate fa�ades of York Minster, or of the Cathedral of Amiens.' '...The stones forming the platform are in the shape of long beams, with their ends resting on the pillars, but the accumulated rubbish on the ground below is all that remains of the masonry that must have once filled in and covered these beams. On the platform are built light pillars and arches, which are surmounted by eighteen domes, similar to those over the rest of the cloister...' See also print 42.[Woodburytype, 193x231mm]. '...the visitor enters a great court-yard, about 500 feet long by about 250 in width'. Duplicate (later printing) of Photo 1000 (3036). Another copy at Photo 212/4 (18). '...Up dark, slippery staircases eventually to reach the lavishly bejewelled shrine of the last and greatest Dalai Lama...' (Lhasa Mission Diary, 22 November 1936).[Gelatin silver print, 158x108mm]. 'A beautiful little temple, greatly ruined; situated on the west of the main Temple. Vast masses of masonry, and huge blocks, richly carved, surround it.' 'About the time I firts visited Junagadh in 1869, some rock-cut apartments were discovered at the bottom of a descent on the north of the Jami Masjid. They are of considerable interest, for, though much defaced, they manifest a high style of art. Few bases, for example, could be found anywhere to excel in beauty of design and richness of carving those of the six pillars in the lower hall..' (James Burgess, 'Report on the antiquities of Kathiawad and Kachh...1874-75' (Archaeological Survey of Western India, vol. II, London, 1876), p. 142). 'About the time I firts visited Junagadh in 1869, some rock-cut apartments were discovered at the bottom of a descent on the north of the Jami Masjid. They are of considerable interest, for, though much defaced, they manifest a high style of art. Few bases, for example, could be found anywhere to excel in beauty of design and richness of carving those of the six pillars in the lower hall..' (James Burgess, Report on the antiquities of Kathiawad and Kachh...1874-75 (Archaeological Survey of Western India, vol. II, London, 1876), p. 142). 'Agra Raina', is written on the negative. 'Agra Taj Riverside N.15', is written on the negative. 'A little distance beyond the south gate of the twon are the Lalpeth Monoliths, some twelve colossal stone images lying upon the ground. They are coarsely carved, but for what purpose it is difficult to say. A temple once existed, or was intended to be built...But the monliths are far too large to have been used in any way as part of the temple, and were probably due to the whim of some person...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1905', p. 39. 'Among the common sights of Tibet are the men-dongs, low buildings like thickened walls. They are erected in the names of deceased persons by their heirs and successors, or by others for their own spiritual advancement. In them are placed the offering decreed by the lama, e.g. images modelled in clay, sacred books, and other religious objects' (The People of Tibet, p. 134). 'An insignificant cave, not described by Mitra or Fergusson' (Bloch). 'Another view of the same temple, taken from the southern door of the Great Temple. In this view, the Head of the Bull may be seen between the columns.' 'A small ruined temple at some distance from the other, most richly carved and picturesquely overgrown with the creepers of the Banyan Tree.' 'A solitary colossal image of Buddha (photo No. 2180), seated, shews that Buddhism must also have been represented at Khajaraha, the image being remarkably like one in the temple at Sanchi on the east of the tope, and so perhaps belonging to the 7th or 8th century. Upon the lotus seat is engraved the Buddhist creed in letters of the 8th century...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', pp. 16-17). 'As represented here the Fort is now a complete ruin. Every where throughout India the memory of past dynasties is passing into oblivion, and the traditions of by gone days have little interest for the people. The numerous ruins of ancient strongholds scattered throughout the land, tell their own tale of the anarchy which generally prevailed, when each chieftain held his own by force, and provided himself with a castle for defence. The memory of her ancient rulers is seldom embalmed in the grateful memory of India's population. They have passed away. It remained for other days to devise a surer way for the perpetuation of power, by encouraging the development of the country's resources and the promotion of the people's prosperity. Thus does Christian European Civilization aim to leave the records of her Empire written on the hearts of the nations, over whom her sway is extended and to make the influences of her Government manifest in their social, moral, and political advancement.' Albumen print, 354 x 239 mm. 'A strong contrast to the splendor of the Jain temple is the Kalighat temple, built in the 1600s, worship place of Hindus. It is famous for the practice of sacrificing goats, as many as 1500 having been slaughtered in one day. On the bank of a canal cut from the original Ganges bed, it is the temple of the Goddess Kali.' 'A view of a portion of the western side of the Temple. An idea may be formed of the richness of the structure, from the thousands of figures which are delineated in this picture. The site of the temple is elevated above the surrounding country, and I found it very difficult to obtain views of this kind.' 'Bengal List', pp. 360, 362: 'The square elevated space on the east side of an old watercourse contains a vast variety of figures, better executed than those at Darauti. There are in particular a great many square obelisks of a different form from those at Darauti, which represent in several tiers domestic scenes. There are also numerous columns, pedestals, cornices, capitals, &c.' Garrick gives the following description in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), p. 33: 'The small obeliscal pillars, of which twenty-two are now above ground, are somewhat similar to the four I found on the ruined temple at Darowli. They are solid square pillars, tapering towards the top and mostly crowned with a circular ornament, probably meant for the Amaranth. They are generally about five feet high, and divided into several compartments or storeys, each of which forms the frame of some design in bas-relief - generally human figures. Having seen these objects in some other places, I was much puzzled to find out their use, or what purpose they could have served about these temples (as they are wholly unadapted to architectural purposes), and partly by the almost putrified matter with which their crevices were filled, and partly from information I received from Brahmans, I discovered that these objects were worshipped, independently of the principal temple, as votive chapels, being daily anointed with red lead &c. (which had to be dug out of the crevices,as I photographed a selection of these interesting objects). I infer that they were also placed on given spots surrounding, or in front of, the temple. Probably, being gifts of the more affluent of its congregation, they were not unlike small models of temples themselves.' 'Besides these four shrines the interior of the stronghold retains scanty ruins of a double-storeyed residence built in the same material and style and locally designated as Mari...The extant portions of the walls show four high windows in the upper storey, which look as if they had once been arched, while a window or door opens in the lower storey through the extant portion of the east wall. It is impossible to form any opinion as to the original extent of the ruined structure, but its massive construction points to a building of some pretensions and intended for public use' (Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905, p. 14). 'By far the most striking object in the vicinity of the Bo-tree is the group of 1,600 columns known as 'Lohopasada', or the Brazen Palace, built first in the reign of King Dutugemunu in the second century B.C., though subsequently often restored...The gnarled grey monoliths are still standing in a perfect forest closely crowded together. They are is forty parallel lines with forty pillars in each...'[Gelatin silver print, 55x80mm]. 'Calcutta boasts the third largest cantilever bridge in the world. Its real importance, however, lies in the fact that it serves as Calcutta's gateway to the west, being the city's only bridge spanning the Hooghly. Taking 7 years to build, it cost $10,000,000. It towers 310 feet as the city's highest structure, is 2,150 feet long with a center span of 1,500 feet. It was completed in 1942, opened in February, 1943.' General view of the bridge from the Howrah side. 'Close to the Great Tower in the north-west corner of the enclosure, stands the little temple here represented, dedicated to Subramanya'. Duplicate (later printing) of Photo 1000 (3044). Another copy at Photo 212/4 (26). 'Close to the mausoleum of Mauj Daria, Bukhari, is the Ahluwalia-House, or the house belonging to the Raja of Kapurthala. It is called by the people Kuri Bagh, or 'daughter's garden'. The house was originally by M. Allard, the French Officer, in the service of Maharaja Ranjit Singh. His daughter, having died here, was interred in the garden attached to the house, which on that account came to be called Kuri Bagh. The tomb of the deceased is on a mound to the north-west of the garden, and on a slab in the floor is the following inscription:- 'To Marie Charlotte, d�c�d�e le 5me Avril, 1827, fille de M. Allard de St. Topiz Chivalier de la Legion d'Honneur Generale de la Cavalerie' (Syad Muhammad Latif, 'Lahore: its history, architectural remains and antiquities', Lahore, 1892, p. 196). General Jean Francois Allard (1785-1839) entered the service of Ranjit Singh in 1822, training his Sikh cavalry on the European model. He was also Political Agent of the French Government at Lahore, where he is buried. 'Elevation facing the sea'. Copy of an architectural drawing. 'Finally I visited about a mile west of Gramkan the mound of Khudabadan. It is crowned by the ruined walls of a fort which is said to have been built or restored by the father of present chief representative of the Naushirwani clan at Panjgur and subsequently destroyed by order from Kalat' (Gedrosia, pp. 45-46). 'Finally we saw the last Dalai Lama's (the 13th incarnation) recently completed tomb and shrine. This is the most striking thing in the Potala. In many previous shrines we had seen masses of heavy gold butter lamps and jewel encrusted images, but this place must contain a fortune in solid gold and fabulous sums in jewels. For the shrine consists of a 'Chorten' 30 or 40 feet high, the whole of it covered not merely with gold leaf but with solid sheets of gold, in which are embedded all manner of precious stones, turquoise predominating. In fron there were rows of gold lamps, cloisonn�e and China vases, and one vessel entirely covered with pearls. Hung all round are rich silk brocades and other subsidiary jewelled images.' (Lhasa Mission Diary, 6 September 1936). This is a close view of the cups and other items mentioned in the description.[Gelatin silver print, 141x92mm]. 'For a canvas house this room must be acknowledged pretty good. It measured 72 feet by 60, and was 20 feet high. It might have been used to drill a battalion in; it was used by His Royal Highness for lev�es and state receptions.'[Albumen print, 136x97mm]. 'Galta is a sacred place, three miles east of Jaypur, bearing somewhat the same relation to Jaypur as Eklinga does to Udaypur...' View looking upstream along the gorge towards buildings. Photograph by Colin Murray for Bourne and Shepherd. 'Goods Shed' in the distance. 'In contrast to the magnificent palace in the background, two sweating coolies strain at a load of precious firewood. The building is known as the Marble Palace, contains a rich collection of paintings, lavishly furnished. It belongs to a Bengali family who are alleged to feed hundreds of poor daily.' General view from Muktaram Babu Street looking through the entrance gateway towards the classical portico of the Marble Palace. 'India Museum no. 512(a). Duplicate of Photo 1000 (2404). 'India Museum no. 533(b). Duplicate of Photo 1000 (2456). 'In front are the two pillars with sacred pictures (tang-ka) hanging on them. In left background is the altar, in centre a choten, in right background books in a bookcase; in front of this last is my bed and a Tibetan table for looking-glass, brushes, etc. Taken diagonally across the room.' See also part 287 (229). 'In front of the seats are the tables with pens, sealing wax, etc., on them. On back of each seat is painted on silk three gems (nor-bu). Behind the seats and on the left side is a wooden screen ornamented with circles painted red, surrounded by gold tracery.' 'It may be as well to state that a complete Uriya shrine is composed of two structures: - (1) the 'Deul', and (2) the 'Jagamohan' (called by Babu P.C. Mukarji, Archaeologist, 'Bhadraka') in English, the 'Sanctuary' and the 'Hall of Meeting' respectively...' (M.H. Arnott, Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903, (London, 1903, preface)). 'It represents Minakshi [Parvati] the goddess armed for battle'. Duplicate (later printing) of Photo 1000 (2935). Another copy at Photo 212/1 (36). 'It shows the main temple, the four large large chotens near the corners, and the gods (lha) who helped to build it, going round the temple with him and the king in the consecration of it. This picture is clearer than the one that I saw in the queen's temple, Kam Sum Sang Kang Ling.' 'Karnani Estates, mammoth apartment hotel for U.S. Army officers. Known to many thousands of transient and locally based officers as a social center, it has been provided with one of the most elaborately decorated bars of any Officers' Club in the CBI theater.' General view of the building from the entrance. 'Large - 30 ft. high...The vertical lines are caused by water dripping through the roof above. This carving is several hundred years old.' See part 283 (168) for a similar view. 'List of Ancient Monuments in Bengal' (Calcutta, 1896), pp. 554-555.J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p. 187: '...the only standing structure being a small temple of brick on a small isolated hill south of the village and close to the river banks; it is built of brick set in mud, smoothed and ornamented with plain lines of mouldings, the bricks for the purpose being cut to shape; the roof is a semicircular arch internally, of bricks, cut to shape and set edge to edge; the bricks are 14""x10""; the entrance is of the usual pattern of bricks in overlapping courses; the temple appears to have been Saivic, but there were probably other temples on the hill; one of the fragments of sculpture represents a female seated on a peacock'. This sculptured slab is placed beside the entrance of the temple in this photograph, with an Indian figure included for scale.Duplicate of Photo 1002 (142). 'List of Ancient Monuments in Bengal' (Calcutta, 1896), pp. 8-9: 'These are temples of no great date, but curious'.J. D. Beglar, 'Report of a tour through the Bengal provinces...' (A.S.I. Vol. VIII, Calcutta, 1878), pp. 154-55. 'No one is allowed to enter this Temple; but this view gives a view of its interior courts from the entrance gate. The bull under its canopy, and those on the upper storey of the temple, as on the gateway, show at once that it is dedicated to the worship of Shiva...' Nandi pavilion in foreground, gopura beyond. Duplicate (later printing) of Photo 1000 (3016). Another copy at Photo 212/3 (39). 'Note brick hearting of later structure adhering to central figure.' 'On right, part of the main building; in this part at top is the Court Room of the Chi-dzongs. In centre foreground a pony, and behind it, on a wall, the huge Tibetan mastiff that bit my photographer's assistant so ferociously that he almost fainted from the attack. Some women servants heard his screaming and called out to some men who came and, no doubt, drove the dog off. The wounds were extremely severe, and but for his continued treatment by my doctor, Lt. Col. Harnett, I.M.S., and then at the Indian Hospital in Gyang-tse, he might have died from septic poisoning. The smaller house, left middle distance, contains several rooms occupied by a caretaker and other servants.' 'On right a woman prostrating. Flowers in pots in the verandah. Above is the yak hair curtain; below a curtain of English-made cloth.' 'Our Rooms' are identified by dotted lines at the top of the print. 'Probably the largest market in the east is the New Market. Covering several blocks in the downtown area, the 2,000 stalls offer most anything you could ask for, wartime shortages excepted. In addition to all the items appealing to the local and tourist trade, the market contains giant food departments.' General view of the exterior of the New Market from Lindsay Street. 'Projecting into the tank, on that side, is a more or less modern chhatri into which old stones have been built, and under which some old sculptures have been gathered. As it stands out into the water, with its reflection broken only by the floating lotus leaves, and overhung with trees, it makes such a picture as would gladden the heart of a painter. It is especially beautiful when seen at sunset with the golden and cromsin sky filtering its light through the fretwork of dark foliage...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 35). 'Represents the interior of the same arcade as is shown in no. 320 [print 30], namely, that on the north side of the quadrangle.' The European figure posed in the background (possibly Lyon himself) gives an indication of scale. Duplicate (later printing) of Photo 1000 (2971). Another copy at Photo 212/2 (31).Exhibited Museum of Sydney. Imagining India, 16 May - 17 August 1997. 'Right front, his throne, with one of his gowns over the back of the throne , ready for him to wear when he sits down next, though he has not been in Tibet for ten years. People are very seldom admitted to the De-chen Po-trang ('The Palace of the Western Paradise'); it was cleared of dust, etc., just before our visit, to enable us to see it properly. Over the throne is the usual silk canopy. Left front a large butter lamp. Further to the left a glass-fronted cabinet with images. At back sacred pictures (tankas). Left background a curtain opening into another room.' 'Sacred cattle and coolies push and pull great carts to the loading platform of the Howrah railroad station in background, one of the city's two stations. Howrah is on the west bank of the river, and Sealdah, the other station, is in another section of Calcutta on the east side.' General view of the main entrance to Howrah Station. 'Small joss house at the north-west corner of the building. In each of the small rooms is a figure of Brahma, several of these houses are studded about the building, and add greatly to the effect.' 'Sun and moon are represented in brass at the top. The monolith itself is about eleven feet high, and the total height about thirteen feet.' 'Supposed to be Parvati, in the character of Devi; the club indicates that Goddess, whereas the chank and chakra belong to Vishnu or Lakshmi.' 'The American Red Cross Burra Club, leave center for GIs and recreation spot for all enlisted men. The unpretentious facade belies an interior complete with dormitory, snack bar, restaurant, music room, games room, lounge, barber and tailor shops, wrapping service department and post exchange.' General view of building fom street. 'The artistic conception of this beautiful bath is worthy of all praise. Imagine a gigantic lotus-flower of granite, full-blown, 24 feet 9 inches in diameter, with five concentric lamina of eight petals, gradually diminishing to a stamen. Then decide to reverse nature's order, and instead of a convex shape depress the petal rings into a concavity...and we have the granite bath as it exists in all its shapeliness to this day.'[Gelatin silver print, 80x55mm]. 'The building here represented is also said to be a portion of the Washerman's Bungalow, but it has much more the appearance of a Mussulman's tomb...' Probably the building described in John M. Fritz, George Michell and John Gollings, City of Victory, Vijayanagara (New York, 1991), p. 101 as a 'multi-domed watchtower'. Duplicate (later printing) of Photo 1000 (3148). Another copy at Photo 212/7 (10). 'The building in the view is the only remains of the old fort of Madura. It formed one of its gateways. Orme says that that the fort consisted of a double wall and ditch and was nearly 4000 yards in circumference.' Albumen print, 361 x 259 mm. 'The celebrated Pagoda is situated inside the smaller of the two forts....before entering it will be as well to keep to the road to the left which passes along the outer wall of the fort, as it is here only that a photograph can be obtained, combining all the principal features of the temple in one view, as here shown'. Duplicate (later printing) of Photo 1000 (3033). Another copy at Photo 212/4 (15). 'The dome at the right of the view, is that of the Moonsiff's Court...The room until recently occupied by the Subordinate Court, the roof of which is given in the view, is 120 feet long and 67 wide including a narrow gallery of each side...This hall was the palace theatre or Hall of Amusements...The building is now much gone to decay and in consequence of the recent fall of one end, the subordinate court has been removed to a part of the Great Hall of Audience, near the Sessions Court.' Albumen print, 381 x 294 mm. 'The entrance represented in the view leads into the Quadrangle in front of the Sessions Court. It is of recent origin, having been opened for the convenience of the Court...' Albumen print, 341 x 263 mm. 'The inscribed [beneath the image] is No. XLII, Epig. Ind. II, p. 78. The image there is described as being in a temple on the south side on the way to the Hathipola.' (Bloch). 'The Jain temple, Parashnath Mandir, is Calcutta's gaudiest and most elaborate temple. The Jains are a sect of the Hindus, a great many of whom belong to the money-lending class, are shrewd and frequently wealthy. Jains do not believe in taking a life, often wear a nostril veil to prevent inhaling of insects.' General view of the Shitalanatha Temple, with the gardens in the foreground. 'The little village of Bikampulli is situated in the Denkenikotta Taluq and is about eleven and a half miles from Ryakotta. The small temple represented in the view, is dedicated to Mariyamma one of the inferior goddesses whose worship is particularly popular in the Salem District. It was erected about 20 years ago...The swing which occupies a prominent place in the foreground, was also erected for performance of a vow by which a woman named Balasami had bound herself in a time of severe sickness. On her recovery she erected the swing for the recreation of the goddess.' Albumen print, 370 x 275 mm. 'The N.E. angle of the Pagoda described above. The projecting bastion is peculiar and rarely seen. The few houses under the Pagoda walls are all that remain of the former town of Tirumbur.' 'The Nimtollah [sic for Nakodha] Mosque, largest Mohammedan mosque in Calcutta. Its prayer hall will accommodate 10,000 worshippers. A modern specimen of Indo-Saracenic architecture, its minarets (towers) are 151 feet high. GI truck at entrance is waiting for a load of soldiers on American Red Cross Tour.' General view from street. 'The part of the bas-relief represented in this photograph occurs in the centre of a battle scene in the western gallery, where two armies are seen approaching from north and south, and closing in battle in the centre. The characteristics of the two forces, their chariots, their horses, their elephants, their costume, and their weapons, are so similar, that there is some difficulty in distinguishing between the combatants...The portion of this scene shewn in the photograph will give a general idea of the skill displayed in the execution of the whole subject. Viewing it as a work of art, it will compare favourably with any of the Assyrian bas-reliefs of a like nature...'('Description of the Photographs', p. 59)[Albumen print, 185x234mm]. 'The pillars are so close together, and the light so very obscure, that to photograph it properly would be impossible...' Duplicate (later printing) of Photo 1000 (3020). Another copy at Photo 212/4 (2). 'The principal entrance - indeed the only one that can now be said to be quite open - faces the north; and were the earth removed, which in the course of ages has accumulated up to the level of the floor, it would add to the effect of the first view of this stupendous cave by revealing the basement on which the temple stands, with an ascent by steps each two and a half feet broad, leading up to the central opening of the three in the fa�ade. Over this entrance is a thick mass of nearly perpendicular rock overhung by small trees and shrubs...' 'There are remains of other temples which have entirely disappeared. A splendidly carved stone door frame does duty for a gateway into a garden...It is boldly and spiritedly designed and carved. But the most interesting thing about it is that it has on the central dedicatory block the image of Ardhanari, or the form in which Siva and Durga are represented as forming one body, half man and half woman. This is unusual, and the only instance I have come across; in fact, Ardhanari is a very rare representation...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 16). 'There is a very perfect specimen of a stone boat or canoe lying along the east side of Anuradhapura. It is 44 feet 3 inches in length. There is no doubt as to the use of these great boats, they are distinctly described in the Mahawansa as a 'receptacle shaped like a boat to hold rice' and are always found in connection with alms-halls. Usually there are two, a larger and a smaller, standing at right angles to each other, but here there is only one remaining.'[Gelatin silver print, 55x80mm]. 'There was formerly a bridge of boats here; the present bridge was built in 1865, and completed in 1866, under the superintendence of Mr. Bruce, the Municipal Engineer.' 'The roof of the main hall rises in striking steep pitched oriental curves and is gilded. In some cases these roofs are actually overlaid with gold leaf.' (Lhasa Mission Diary, 30 August 1936).[Gelatin silver print, 141x92mm]. 'These [brick temples], but especially the Radharaman temple, are profusely ornamented with moulded and cut brick; the minute tracery, executed in such a soft material as brick, exposed to the weather, is in wonderful preservation, and shows how much can be done in this material at little cost; photographs of both temples have been taken, and are worth studying.' J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p. 163. 'These two domes stand over part of the eastern side of the arcade in the Quadrangle, and the turret over the N.E. corner of the elevated arcade. The terrace is said to have been erected to give the ladies of the palace an opportunity of witnessing the processions from the Temple to the Teppakulam on the Ramnad road.' Albumen print, 365 x 279 mm. 'The south-east corner, showing elaborate representations of Battles, Sieges, Processions, and all manner of Beasts. The Temple is lighted by holes perforated in the upper portion of the walls on the eastern side only; this is a very favorite method of illuminating the Temples in India.' 'The subject of the bas-relief is Krishna tending to the herds of Nandis, whence the portico is called the Krishna Mundapum'. Duplicate (later printing) of Photo 1000 (3075). Another copy at Photo 212/5 (21). 'The volumes can be seen in their pigeon-holed shelves. In front of each hangs the silk tag on which the title is inscribed, with its embroidered silk covers. Silk streamers hang from the square, wooden pillars. Right front a large butter lamp.' 'This bridge was built by Newab Ausuf-ood-dowlah, about the year 1780. It is a substantial structure and has proved its durability by not requiring any repairs since it was built. It has no particular claims to architectural beauty, but the view from its parapets, up and down the river Goomptee, is extremely picturesque.' 'This column is called by the villagers Bhim ki-gada or the mace of Bhima. 'This elegant building stands alone among the tamarind trees to the south of the citadel, which was known as the royal deer park, and is generally believed to be the mausoleum of Booboojee Khanaum, or Begum Sahib, the wife of Yoosuf Adil Shah, and first Queen of Beejapoor, though there does not seem to be any real ground for the tradition...' 'This group which is beautifully carved, is almost inclosed by projecting buttresses, and is in deep shade during the greater part of the day. It represents a number of nude female figures. Serpents are twined round one of them, who, I am inclined to think, is Durga, the destroying transformation of Parvati.' 'This handsome iron bridge was sent out from England, by sections complete, in the year 1816, but the death of the importer put a stop to the undertaking: Saadut Ali Khan died about two years before its arrival, and the work long remained suspended...After the lapse of about thirty years, when Mohummed Ali Shah came to the throne, the bridge was erected and now forms a conspicuous ornament to the city...' 'This is a closer view of the same Temple, shewing the sculpture on its western extremity. In the interior, the statue of one of the Gods remains. I used this chamber as my workshop.' 'This is a large hall entirely open from the top of the arch to the floor of the arcade on the north side of the Quadrangle. It is about 70 feet in height from the floor of the arcade, and has a narrow gallery on a level with the terrace and forming a connection between them. The view represents, distinctly, remains of other parts of the Palace now gone to ruin.' Albumen print, 357 x 278 mm. 'This is an auspicious sign which gives durability to the house. Above it, in whitewash, the sun and moon which raise the house and household up towards their own high level. Above this again an old set of sticks from which the prayer flags have been blown off; a new set of sticks with prayer flags will soon be set up.' 'This is an external view of the great dome of the Swerga-vitasam taken from the terrace above the hall. It was formerly surrounded by an arcade part of which is now standing. The structure on the right of the view is a lofty arched arched roof over the centre of the arcade on the south side of the Quadrangle. The view of the surrounding country from this terrace is one of great beauty.' Albumen print, 373 x 248 mm. 'This is conjectural. Negative labelled 'Chota Jami Masjid, Mandu.' The building, however, is clearly not a mosque.' (Bloch). 'This is conjectural. Negative labelled 'Chota Jami Masjid, Mandu.' The building, however, is clearly not a mosque.' (Bloch). 'This photograph shows the side entrance to the same temple. It is more than usually interesting, as it is one of the few examples in the South of India where the temple itself is the principal object. Here and at Tanjore the pyramid erected over the sanctuary rises boldly from the centre of the enclosure, and the gateways are kept subordinate to it. In almost all the other examples above described the gateways overpower the temple, which is generally small.' Duplicate (later printing) of Photo 1000 (3018). Another copy at Photo 212/3 (41). 'This view is also taken from the Harem Court [ie Lotus Mahal]. It gives an excellent idea of the ruin and desolation to be seen on every side'. Rear of Elephant Stables at left. Duplicate (later printing) of Photo 1000 (3137). Another copy at Photo 212/6 (39). 'This view is taken from the entrance to the porch containing the bull. It represents the east fa�ade between the two east entrances'. Duplicate (later printing) of Photo 1000 (3119). Another copy at Photo 212/6 (21). 'This view represents a large block of hornblende taken from the vicinity of Bannugger; it is very elegantly carved. It nows lies in the courtyard of the zemindar's cutcherry at Termooli.' (Descriptive note of the photographs of ancient architectural remains in Kantonugger and Bannugger, Bengal pub. proc., no. 26 of October 1871, IOR/P/156). Duplicate of Photo 1000 (3344). 'To enter the Fort it is necessary to proceed northward along the high road for about 400 yards and crossing the ditch, return by a road parallel to the entrance; passing thence under the gate-tower just described, the visitor finds himself opposite the entrance to the inner court, as represented in this view'. Duplicate (later printing) of Photo 1000 (3035). Another copy at Photo 212/4 (17). 'Tom' is possibly a brother of Colonel J.L.T. Jones and was a manager for the Chartered Bank of India, Australia and China. 'Tom' is probably a relative (brother?) of Colonel J.L.T. Jones, he was also manager of the Batavia branch of the Chartered Bank of India, Australia and China. 'To the south of the temple is is a torana resting on four columns, and doubtless connected with the god Mahanala. From the marks left it appears that from the lintel of the central, a swing was suspended, and, into the columns of the side, spare iron bars were fixed on which to hang cradles.' (Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 57). Cousens adds the following note: 'These toranas are often said to have been used for weighing a prince against gold, to give in charity, or to the temple; but it is evident that many were erected as purely ornamental features, where there is no cross beam, as in this case, under the cusped torana. Owing to their light construction, these arch rings would bear no weight without coming down. In this particular case, they seem to have even distrusted the beam and inserted an iron bar between the pillars to meet their requirements.' 'View of approach to Qutb before removal of dak bungalow [at left] and servants' quarters [centre]. The old Delhi-Gurgaon road is seen running through the gateway of the old Sarai to the right.' 'Views of Benares presented by the Maharaja of Benares'. Half-leather and green cloth album with title stamped in gilt on front cover, measuring 392x312mm, containing 41 prints with letterpress titles pasted beneath each image. The album contains a series of views of the ghats and riverside buildings of Varanasi (Benares) [1-20], buildings in the city and a number of views at Sarnath, including artefacts in the archaeological museum. The photographs date from the 1880s-1900s (several prints in the album date back to at least 1883. A number also appear in Photo 177, an album dated January 1883). For another copy of this album, with a full print listing, see Photo 17/3. 'Vishnu in an attitude of devotion.' Duplicate (later printing) of Photo 1000 (2933). Another copy at Photo 212/1 (35). 'We saw the entrance to dungeons where political prisoners languish and saw outside the ordinary jail the whips with which prisoners are administered up to 1000 lashes, and the large square wooden frames fastened round their necks.' (Lhasa Mission Diary, 6 September 1936).[Gelatin silver print, 141x92mm]. 'We went on to the topmost roof of the Potala and saw the gold leaf covered pagoda like roofs of all the past Dalai Lamas' mausoleums.' (Lhasa Mission Diary, 6 September 1936).[Gelatin silver print, 141x92mm]. 'We were put up in the large white building, just to the right of the tall pole, three-quarters of the way up to it. See verandah at top of it.' 'Willow rod for drawing leather bucket from well lies to the right. Wooden bucket into which water is poured is on the left. The well is walled throughout, with slabs of stone similar to that is the photo. 'With this noble band or embankment, and its terraced ghat or descent of marble, there is certainly nothing to compare in Europe, and it is one of the finest things even in India. It is about thirty miles north of Udaypur, and is drawn across a gorge between two hills, through which formerly the Gumti flowed southwards from the upper spurs of the Aravalli Hills, and is formed of an enormous rampart of earth faced on the south or lower by a plain wall, crowned by small chhatris, or canopies of marble. On the north side is the descent or ghat to the lake formed by this dam, built throughout of white marble, and 1,115 feet in length...above its western end is the fort and palace of Rajnagar, - the modern town being on the southern base of the hill...' Photograph by Colin Murray for Bourne and Shepherd. 'Writing-table, chair and fur coat hanging from pillar. To the right a long cabinet of images and bowls of holy water. On the left chintz curtain covering the wall. The Hutuktu's apartment.' (?)Bronze figure of Shiva in the form of a wandering beggar. Duplicate of Photo 1008/10 (77D).[153x202mm]. (?)Gana figure on Gauri Temple. (?)In the fort. (?)Krishna protecting the herds. Duplicate (later printing) of Photo 1000 (3076). Another copy at Photo 212/5 (22). (?)Lintel of niche, with figure seated in circular recess. (?)Monastery shrines in Kuthodaw Pagoda. Chinthe in foreground. (?)Originally forming the base of a pillar. (?)Pagoda at centre of Kuthodaw Pagoda. (?)Palace foundations. (?)Part of Kuthodaw Pagoda. (?)Part of the Kuthodaw Pagoda. (?)Possibly the Varaha Narasimha Temple. (?)Shiva spearing Andhaka. (?)Temple in palace. (?)Temple in Teng-y�eh. (?)Temple of Durga Narasimha. (?)Terracotta finials. (?)Unpublished. Duplicate (later printing) of Photo 1000 (2148). (?)Vishnu on Garuda. (Ancient Persis Map B2). (I.A. Map 25, D3). (I.A. Map 28, B3). (I.A. Map 28, B3). (I.A. Map 28, C3). (I.A. Map 28, C3). (I.A. Map 28, C3). (I.A. Map 28, C3). (I.A. Map 28, C3). (I.A. Map 28, D3). (I.A. Map 30, B2). (I.A. Map 38, B4). (I.A. Map 38, B4). (I.A. Map 45, D1). (I.A. Map 7, B4). [?]Residence of the Raja of Chamba in Lahore. [?Collodion printing-out paper, 198x150mm]. [?Collodion printing-out paper, 284x209mm]. [?Matte collodion printing-out paper, 203x152mm]. [100x149mm]. [102x74mm]. [122x95mm]. [149x99mm]. [177x126mm]. [285x193mm]. [286x191mm]. [74x99mm]. [81x55mm]. [98x73mm]. [99x148mm]. [99x72mm]. [99x73mm]. [99x76mm]. [Abumen print, 168x125mm]. [Albumen print, (?)from a paper negative, 156 x 180 mm]. [Albumen print, 103x76mm]. [Albumen print, 104x137mm]. [Albumen print, 138x200mm]. [Albumen print, 141x203mm]. [Albumen print, 142x202mm]. [Albumen print, 148x100mm]. [Albumen print, 148x192mm]. [Albumen print, 153x200mm]. [Albumen print, 153x203mm]. [Albumen print, 158x210mm]. [Albumen print, 159x100mm]. [Albumen print, 160x107mm]. [Albumen print, 160x192mm]. [Albumen print, 164x204mm]. [Albumen print, 167x158mm]. [Albumen print, 167x220mm]. [Albumen print, 168x222mm]. [Albumen print, 168x229mm]. [Albumen print, 170x224mm]. [Albumen print, 171x219mm]. [Albumen print, 172x173mm]. [Albumen print, 176x162mm]. [Albumen print, 181x238mm]. [Albumen print, 190x235mm]. [Albumen print, 193x147mm]. [Albumen print, 194x149mm]. [Albumen print, 194x170mm]. [Albumen print, 195x147mm]. [Albumen print, 198x141mm]. [Albumen print, 200x168mm]. [Albumen print, 202x141mm]. [Albumen print, 205x157mm]. [Albumen print, 206x167mm]. [Albumen print, 208x170mm]. [Albumen print, 209x167mm]. [Albumen print, 209x169mm]. [Albumen print, 210x160mm]. [Albumen print, 210x166mm]. [Albumen print, 211x156mm]. [Albumen print, 211x171mm]. [Albumen print, 214x166mm]. [Albumen print, 214x169mm]. [Albumen print, 215x134mm]. [Albumen print, 216x168mm]. [Albumen print, 217x168mm]. [Albumen print, 218x140mm]. [Albumen print, 218x167mm]. [Albumen print, 222x172mm]. [Albumen print, 224x132mm]. [Albumen print, 225 x 173 mm]. [Albumen print, 228x165mm]. [Albumen print, 228x168mm]. [Albumen print, 230x150mm]. [Albumen print, 231 x 183 mm]. [Albumen print, 231x186mm]. [Albumen print, 235 x 179 mm]. [Albumen print, 235x183mm]. [Albumen print, 248x180mm]. [Albumen print, 254x200mm]. [Albumen print, 254x209mm]. [Albumen print, 255x200mm]. [Albumen print, 255x201mm]. [Albumen print, 258x200mm]. [Albumen print, 259x200mm]. [Albumen print, 259x200mm]. [Albumen print, 263x182mm]. [Albumen print, 265x201mm]. [Albumen print, 270x135mm]. [Albumen print, 272x186mm]. [Albumen print, 294x230mm]. [Albumen print, 301x380mm]. [Albumen print, 305x363mm]. [Albumen print, 310x375mm]. [Albumen print, 324x262mm]. [Albumen print, 377x309mm]. [Albumen print, 384x307mm]. [Albumen print, 60x93mm]. [Albumen print, 89x59mm]. [Albumen print, 97x80mm]. [Albumen print, 99x141mm]. [Albumen print, faded and with some tears (repaired and backed), 204x271mm]. [Albumen print, in poor condition, 223x188mm]. [Albumen print, signed 'Abdullah Fr�res' in the negative, 255x200mm]. [Albumen print, signed 'Abdullah Fr�res' in the negative, 260x200mm]. [Albumen print, vignetted oval, 115x70mm]. [Albumen print, vignetted oval image, 135x80mm]. [Albumen print, vignetted oval image, 155x100mm]. [Albumen print, with photographer's blindstamp in bottom right-hand corner, 276x206mm]. [Albumen print]. [Albumen print]. [Albumen print]. [Albumen print]. [Albumen print]. [Albumen print]. [Albumen print]. [Albumen print]. [Albumen print]. [Gelatin silver print, 100x61mm]. [Gelatin silver print, 100x62mm]. [Gelatin silver print, 101x82mm]. [Gelatin silver print, 102x77mm]. [Gelatin silver print, 102x80mm]. [Gelatin silver print, 103x60mm]. [Gelatin silver print, 103 X 82 mm]. [Gelatin silver print, 104x60mm]. [Gelatin silver print, 105x62mm]. [Gelatin silver print, 110x154mm]. [Gelatin silver print, 110x154mm]. [Gelatin silver print, 110x154mm]. [Gelatin silver print, 110x154mm]. [Gelatin silver print, 110x154mm]. [Gelatin silver print, 110x180mm]. [Gelatin silver print, 110x77mm]. [Gelatin silver print, 110 X 83 mm]. Fort in ruins. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 111x176mm]. [Gelatin silver print, 113x160mm]. [Gelatin silver print, 115x167mm]. [Gelatin silver print, 117x87mm]. [Gelatin silver print, 120x176mm]. [Gelatin silver print, 120x177mm]. [Gelatin silver print, 120x81mm]. [Gelatin silver print, 120x81mm]. [Gelatin silver print, 121x172mm]. [Gelatin silver print, 121x80mm]. [Gelatin silver print, 123x163mm]. [Gelatin silver print,125x177mm]. [Gelatin silver print, 128x89mm]. [Gelatin silver print, 129x71mm]. [Gelatin silver print, 129x75mm]. [Gelatin silver print, 130x79mm]. [Gelatin silver print, 131x81mm]. [Gelatin silver print, 132 X 82 mm]. [Gelatin silver print, 132x82mm]. [Gelatin silver print, 133x78mm]. [Gelatin silver print, 133x79mm]. [Gelatin silver print, 133x82mm]. [Gelatin silver print, 133x82mm]. [Gelatin silver print, 133x82mm]. [Gelatin silver print, 133x82mm]. [Gelatin silver print, 136x77mm]. [Gelatin silver print, 137x78mm]. [Gelatin silver print, 137x80mm]. [Gelatin silver print, 137x90mm]. [Gelatin silver print, 139x194mm]. [Gelatin silver print, 140x197mm]. [Gelatin silver print, 140x80mm]. [Gelatin silver print, 140x92mm]. [Gelatin silver print, 141x90mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 142x92mm]. [Gelatin silver print, 142x93mm]. [Gelatin silver print, 146x197mm]. [Gelatin silver print, 148x204mm]. [Gelatin silver print, 152 X 103 mm]. [Gelatin silver print, 152 x 103 mm]. [Gelatin silver print, 152x104mm]. [Gelatin silver print, 152x203mm]. [Gelatin silver print, 153x200mm.] [Gelatin silver print, 153x203mm]. [Gelatin silver print, 154x110mm]. [Gelatin silver print, 154x110mm]. [Gelatin silver print, 154x110mm]. [Gelatin silver print, 154x110mm]. [Gelatin silver print, 154x203mm]. [Gelatin silver print, 156x108mm]. [Gelatin silver print, 157x112mm]. [Gelatin silver print, 158x108mm]. [Gelatin silver print, 158x144mm]. [Gelatin silver print, 159x103mm]. [Gelatin silver print, 160x102mm]. [Gelatin silver print, 160x114mm]. [Gelatin silver print, 160x210mm]. [Gelatin silver print, 162x119mm]. [Gelatin silver print, 165x114mm]. [Gelatin silver print, 166x114mm]. [Gelatin silver print, 172x131mm]. [Gelatin silver print, 190x120mm]. [Gelatin silver print, 199x148mm]. [Gelatin silver print, 199x149mm]. [Gelatin silver print, 200x142mm]. [Gelatin silver print, 200x143mm]. [Gelatin silver print, 200x151mm]. [Gelatin silver print, 201x145mm]. [Gelatin silver print, 201x145mm]. [Gelatin silver print, 201x147mm]. [Gelatin silver print, 201x149mm]. [Gelatin silver print, 201x151mm]. [Gelatin silver print, 202x116mm]. [Gelatin silver print, 202x127mm]. [Gelatin silver print, 202x133mm]. [Gelatin silver print, 202x147mm]. [Gelatin silver print, 202x148mm]. [Gelatin silver print, 202x149mm.] [Gelatin silver print, 202x149mm]. [Gelatin silver print, 202x149mm]. [Gelatin silver print, 202x150mm]. [Gelatin silver print, 202x151mm]. [Gelatin silver print, 203x125mm]. [Gelatin silver print, 203x130mm]. [Gelatin silver print, 203x133mm]. [Gelatin silver print, 203x139mm]. [Gelatin silver print, 203x139mm]. [Gelatin silver print, 203x140mm]. [Gelatin silver print, 203x146mm]. [Gelatin silver print, 203x148mm]. [Gelatin silver print, 203x150mm]. [Gelatin silver print, 203x153mm]. [Gelatin silver print, 204x134mm]. [Gelatin silver print, 206x154mm]. [Gelatin silver print, 225x292mm]. [Gelatin silver print, 243 x 229 mm]. [Gelatin silver print, 272x225mm]. [Gelatin silver print, 283x98mm]. [Gelatin silver print, 286x95mm]. [Gelatin silver print, 288x226mm]. [Gelatin silver print, 289x233mm]. [Gelatin silver print, 290x230mm]. [Gelatin silver print, 290x232mm]. [Gelatin silver print, 291x233mm]. [Gelatin silver print, 291x236mm]. [Gelatin silver print, 292x227mm]. [Gelatin silver print, 293x232mm]. [Gelatin silver print, 294x198mm]. [Gelatin silver print, 303x255mm]. [Gelatin silver print, 38x60mm]. [Gelatin silver print, 50x79mm]. [Gelatin silver print, 52x76mm]. [Gelatin silver print, 52x78mm]. [Gelatin silver print, 53x79mm]. [Gelatin silver print, 53x80mm]. [Gelatin silver print, 53x80mm]. [Gelatin silver print, 55x79mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 57c79mm]. [Gelatin silver print, 57x66mm]. [Gelatin silver print, 57x79mm]. [Gelatin silver print, 57x80mm.] [Gelatin silver print, 57x80mm]. [Gelatin silver print, 59x103mm]. [Gelatin silver print, 60x103mm]. [Gelatin silver print, 61x104mm]. [Gelatin silver print, 65x44mm]. [Gelatin silver print, 74 X 58 mm]. [Gelatin silver print, 77x53mm]. [Gelatin silver print, 78x101mm]. [Gelatin silver print, 78x63mm]. [Gelatin silver print, 78x98 mm]. [Gelatin silver print, 78x98 mm]. [Gelatin silver print, 78x98 mm]. [Gelatin silver print, 79x50mm]. [Gelatin silver print, 80x55mm]. [Gelatin silver print, 80x55mm]. [Gelatin silver print, 80x57mm. [Gelatin silver print, 82x133mm]. [Gelatin silver print, 82x134mm]. [Gelatin silver print, 82x93mm]. [Gelatin silver print, 83 X 110 mm]. [Gelatin silver print, 85 X 59 mm]. [Gelatin silver print, 86 X 56 mm]. [Gelatin silver print, 88x130mm]. [Gelatin silver print, 89x128mm]. [Gelatin silver print, 89x128mm]. [Gelatin silver print, 90x135mm]. [Gelatin silver print, 92x140mm]. [Gelatin silver print, 92x141mm]. [Gelatin silver print, 92x143mm]. [Gelatin silver print, 94x141mm]. [Gelatin silver print, 94x142mm]. [Gelatin silver print, 94x142mm]. [Gelatin silver print, 96x130mm]. [Gelatin silver print, 98x125mm]. [Gelatin silver print, 98x78 mm]. One of the two views of the bungalow. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. The second view of the bungalow. [Gelatin silver print (modern copy), 223x169mm]. [Gelatin silver print (modern copy), 229x186mm]. [Gelatin silver print (modern copy), 236x179mm]. [Gelatin silver prints, 100x72mm]. [Gelatin silver prints, 53x79mm]. [Gelatin silver prints]. [Lantern slide, 39x55mm]. [Lantern slide, 39x55mm]. [Lantern slide, 46x67mm]. [Lantern slide, 49x62mm]. [Lantern slide, 50x64mm]. [Lantern slide, 50x64mm]. [Lantern slide, 50x72mm]. [Lantern slide, 52x63mm]. [Lantern slide, 53x59mm]. [Lantern slide, 53x70mm]. [Lantern slide, 54x69mm]. [Lantern slide, 54x70mm]. [Lantern slide, 56x70mm]. [Lantern slide, 57x66mm]. [Lantern slide, 57x70mm]. [Lantern slide, 58x43mm]. [Lantern slide, 58x63mm]. [Lantern slide, 58x70mm]. [Lantern slide, 59x48mm]. [Lantern slide, 59x49mm]. [Lantern slide, 59x51mm]. [Lantern slide, 61x68mm]. [Lantern slide, 62x50mm]. [Lantern slide, 62x62mm (circular)]. [Lantern slide, 62x62mm (circular)]. [Lantern slide, 62x62mm]. [Lantern slide, 63x50mm]. [Lantern slide, 63x50mm]. [Lantern slide, 63x52mm]. [Lantern slide, 63x55mm]. [Lantern slide, 63x66mm]. [Lantern slide, 64x43mm]. [Lantern slide, 64x51mm]. [Lantern slide, 65x68mm]. [Lantern slide, 65x75mm]. [Lantern slide, 66x48mm]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x68mm]. [Lantern slide, 66x68mm]. [Lantern slide, 66x70mm]. [Lantern slide, 67x50mm]. [Lantern slide, 67x66mm]. [Lantern slide, 67x66mm]. [Lantern slide, 67x66mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x68mm].(broken). [Lantern slide, 67x69mm]. [Lantern slide, 67x70mm]. [Lantern slide, 68x48mm]. [Lantern slide, 68x51mm]. [Lantern slide, 68x52mm]. [Lantern slide, 68x54mm]. [Lantern slide, 68x58mm]. [Lantern slide, 68x60mm]. [Lantern slide, 68x68mm]. [Lantern slide, 68x68mm]. [Lantern slide, 68x68mm]. [Lantern slide, 68x69mm]. [Lantern slide, 68x70mm]. [Lantern slide, 68x72mm]. [Lantern slide, 69x41mm]. [Lantern slide, 69x50mm]. [Lantern slide, 69x50mm]. [Lantern slide, 69x50mm]. [Lantern slide, 69x54mm]. [Lantern slide, 69x55mm][extensively damaged] [Lantern slide, 69x62mm]. [Lantern slide, 69x68mm]. [Lantern slide, 69x69mm]. [Lantern slide, 70x43mm]. [Lantern slide, 70x51mm]. [Lantern slide, 70x52mm]. [Lantern slide, 70x53mm]. [Lantern slide, 70x54mm]. [Lantern slide, 70x54mm]. [Lantern slide, 70x55mm]. [Lantern slide, 70x55mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x65mm]. [Lantern slide, 70x66mm]. [Lantern slide, 70x67mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x71mm]. [Lantern slide, 71x39mm]. [Lantern slide, 71x39mm]. [Lantern slide, 71x50mm]. [Lantern slide, 71x50mm]. [Lantern slide, 71x51mm]. [Lantern slide, 71x52mm]. [Lantern slide, 71x58mm]. [Lantern slide, 71x62mm]. [Lantern slide, 71x67mm]. [Lantern slide, 71x70mm]. [Lantern slide, 71x71mm]. [Lantern slide, 71x71mm]. [Lantern slide, 71x71mm]. [Lantern slide, 71x71mm]. [Lantern slide, 71x72mm]. [Lantern slide, 71x72mm]. [Lantern slide, 71x72mm]. [Lantern slide, 71x72mm]. [Lantern slide, 71x72mm]. [Lantern slide, 71x73mm]. [Lantern slide, 71x75mm]. [Lantern slide, 72x49mm]. [Lantern slide, 72x49mm]. [Lantern slide, 72x51mm]. [Lantern slide, 72x52mm]. [Lantern slide, 72x52mm]. [Lantern slide, 72x53mm]. [Lantern slide, 72x53mm]. [Lantern slide, 72x54mm]. [Lantern slide, 72x56mm]. [Lantern slide, 72x71mm]. [Lantern slide, 72x71mm]. [Lantern slide, 72x71mm]. [Lantern slide, 72x71mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm] [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 72x73mm]. [Lantern slide, 73x49mm]. [Lantern slide, 73x51mm]. [Lantern slide, 73x53mm]. [Lantern slide, 73x54mm]. [Lantern slide, 73x54mm]. [Lantern slide, 73x62mm (oval)]. [Lantern slide, 73x72mm]. [Lantern slide, 73x72mm]. [Lantern slide, 73x72mm]. [Lantern slide, 73x72mm]. [Lantern slide, 73x72mm]. [Lantern slide, 73x72mm]. [Lantern slide, 73x72mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x76mm]. [Lantern slide, 74x52mm]. [Lantern slide, 74x70mm]. [Lantern slide, 74x73mm]. [Lantern slide, 74x73mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x76mm]. [Lantern slide, 75x42mm]. [Lantern slide, 75x54mm]. [Lantern slide, 75x55mm]. [Lantern slide, 75x71mm]. [Lantern slide, 75x74mm]. [Lantern slide, 75x74mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75X75 mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x76mm]. [Lantern slide, 76x74mm]. [Lantern slide, 76x75mm]. [Lantern slide 52x65mm]. [Modern print from original waxed calotype negative, 257x351mm (portrait format)]. [Modern print from original waxed calotype negative, 339x238mm]. [Modern print from original waxed calotype negative, 340x236mm]. [Modern print from original waxed calotype negative, 352x268mm]. [Modern print from original waxed calotype negative, 465x367mm]. [Modern print from original waxed calotype negative, 465x374mm]. [Platinum print, 279x228mm]. [Platinum print, 280x227mm]. [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Postcard, 136 X 86 mm]. [Post card, gelatin silver print, 134 X 82 mm.] [Post card, gelatin silver print, 134 X 82 mm.] [Postcard 136 X 86 mm]. [Postcard 136 X 86 mm]. [Printing-out paper, 150x105mm]. [Printing-out paper, 151x106mm]. [Printing-out paper, 151x108mm]. [Printing-out paper, 152x105mm]. [Printing-out paper, 152x105mm]. [Printing-out paper, 153x103mm]. [Printing-out paper, 153x107mm]. [Printing-out paper, 153x108mm]. [Printing-out paper, 156x115mm]. [Printing-out paper, 195x241mm]. [Printing-out paper, 204x152mm]. [Printing-out paper, 225x271mm]. [Printing-out paper, 237x194mm]. [Printing-out paper, 243x192mm]. [Printing-out paper, 274x214mm]. [Printing-out paper, 279x205mm]. [Printing-out paper, 280x207mm]. [Printing-out paper, 281x207mm]. [Printing-out paper, 282x205mm]. [Printing-out paper, 282x206mm]. [Printing-out paper, 282x206mm]. [Printing-out paper, 282x207mm]. [Printing-out paper, 283x207mm]. [Printing-out paper, 283x207mm]. [Printing-out paper, 314x251mm]. [Printing-out paper, 320x264mm]. [Printing-out paper, 97x73mm]. [Sepia-toned gelatin silver plate, 77x75mm] [Sepia-toned gelatin silver print, 100x75mm]. [Sepia-toned gelatin silver print, 101x60mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x76mm]. [Sepia-toned gelatin silver print, 101x77mm] [Sepia-toned gelatin silver print, 102x73mm]. [Sepia-toned gelatin silver print, 102x73mm]. [Sepia-toned gelatin silver print, 102x73mm] [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm] [Sepia-toned gelatin silver print, 102x76mm]. [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x77mm]. [Sepia-toned gelatin silver print, 102x77mm]. [Sepia-toned gelatin silver print, 103x74mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 104x75mm]. [Sepia-toned gelatin silver print, 104x76mm] [SEpia-toned gelatin silver print, 104x76mm] [Sepia-toned gelatin silver print, 104x78mm] [Sepia-toned gelatin silver print, 56x98mm]. [Sepia-toned gelatin silver print, 74x101mm]. [Sepia-toned gelatin silver print, 74x103mm]. [Sepia-toned gelatin silver print, 74x104mm]. [Sepia-toned gelatin silver print, 75x101mm]. [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x98mm]. [Sepia toned gelatin silver print, 75x99mm]. [Sepia-toned gelatin silver print, 76x100mm] [Sepia-toned gelatin silver print, 76x101mm]. [Sepia-toned gelatin silver print, 76x102mm]. [Sepia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x103mm] [Sepia-toned gelatin silver print, 77x102mm] [Sepia-toned gelatin silver print, 77x103mm] [Sepia-toned gelatin silver print, 77x103mm] [Sepia-toned gelatin silver print, 92x63mm]. [Sepia-toned gelatin silver print, 94x70mm] [Sepia-toned gelatin silver print, 98x73mm]. [Sepia-toned gelatin silver print 104x76mm] [Sepia-toned gelatin siver print, 76x103mm] [Sepia toned print, 129x80mm]. [Sepia toned print, 130x80mm]. [Sepia toned print, 130x80mm]. [Sepia toned print, 135x77mm]. [Sepia toned print, 136x77mm]. [Sepia toned print, 136x78mm]. [Silver printing-out paper, 102x75mm]. [Silver printing-out paper, 105x153mm]. [Silver printing-out paper, 106x153mm]. [Silver printing-out paper, 122x97mm]. [Silver printing-out paper, 130x79mm]. [Silver printing-out paper, 136x80mm]. [Silver printing-out paper, 149x106mm]. [Silver printing-out paper, 150x105mm]. [Silver printing-out paper, 150x106mm]. [Silver printing-out paper, 151x103mm]. [Silver printing-out paper, 152x103mm]. [Silver printing-out paper, 152x103mm]. [Silver printing-out paper, 153x104mm]. [Silver printing-out paper, 154x106mm]. [Silver printing-out paper, 154x107mm]. [Silver printing-out paper, 155x218mm]. [Silver printing-out paper, 197x150mm]. [Silver printing-out paper, 198x153mm]. [Silver printing-out paper, 203x152mm]. [Silver printing-out paper, 205x149mm]. [Silver printing-out paper, 205x150mm]. [Silver printing-out paper, 212x154mm]. [Silver printing-out paper, 212x288mm]. [Silver printing-out paper, 213x151mm]. [Silver printing-out paper, 218x139mm]. [Silver printing-out paper, 241x183mm]. [Silver printing-out paper, 241x184mm]. [Silver printing-out paper, 263x197mm]. [Silver printing-out paper, 267x201mm]. [Silver printing-out paper, 289x204mm]. [Silver printing-out paper, 295x211mm]. [Silver printing-out paper, 80x105mm]. [Silver printing-out paper, 97x120mm]. [Waxed calotype negative, 261x367mm (portrait format)]. *Extra print, not included in original published version.[Albumen print, 86x98mm]. 11 snapshots showing construction work in progress at New Delhi, with views of the Secretariat and the Viceroy's House[Gelatin silver prints]. 14 snapshots: views of the Maharaja of Alwar's country palace at Seriska, Lansdowne Palace, and city palace at Alwar, hunting scenes.[Gelatin silver prints, 140x80mm]. 15 prints, mainly of individual paintings or groups of pictures in the galleries, with a few general views of interiors.[Gelatin silver prints, various sizes]. 1761 (a). From north. 23 snapshots, mainly of architectural subjects in Delhi: Safdar Jang's Tomb, Diwan-i-Khas and Diwan-i-Am in the Red Fort, Viceregal Lodge, Qutb Minar, Iron Pillar at the Qutb, Indraput, views of the Montagu Mission's camp. There are also a few snapshot groups and an informal portrait of Lieutenant Colonel Ralph Verney, Military Secretary to Lord Chelmsford.[Gelatin silver prints, 130x75mm]. 24 small snapshots: informal family portraits, street scenes (including a view of a camel cart with passengers) and architectural views, and three views of coronation celebrations in 1937.[Gelatin silver prints, various sizes]. 45 miles north of Lhasa. A ball with nearly 1500 guests was held in honour of the Prince of Wales in the Diwan-i-Khas on 12 January 1876. Unnumbered, but probably no. 1396 in the Bourne & Shepherd catalogue.[Albumen print, 83x96mm]. A baoli-type well of galleried apartments. A better quality view of the pavilion also seen in print 1530. The attribution of this photograph to H.H. Cole is probably incorrect. A better view than print 1228 of another part of the colonnade of statues. A bird's eye view looking down from surrounding hills, with the main temple in the centre. A caption in the print reads: 'Chetakhana Masjed'. According to a similar Bourne & Shepherd view in the Archaelogical Survey of India collection, ASIO 1281-83, this temple is that of 'Meruvardhanasvami' although the exact location is not given. A clearer print of the Buddha figure seen in print 288. A clearer view that print 21. A clear general view of the cenotaph. A cloce view of the stone temple car or ratha, A close, oblique view of the window, showing sculptural details. The upper architrave is out of the print. See also print 269. A closer and clearer view than print 1513. A closer and clearer view than print 1513. A closer general view of the sanctuary tower of the temple. A closer view, but a more faded print. A closer view, looking into the tank. A closer view. A closer view. A closer view of monastery buildings. A closer view of the fort, with walls in shadow. A closer view of the lighthouse also seen in print 5. A closer view of the mandapa. A closer view of the mandapa. A closer view of the ruined fort. A closer view of the temple. A closer view of the tomb, a square three storey structure surmounted by a smaller fourth storey and a dome. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. A closer view of the tomb of Suleyman I (the Magnificent).[Albumen print, 329x262mm]. A closer view of the two panels also seen in print 272. A closer view than print 1615. A closer view than print 1615. A closer view than print 597. A close view of a corner of the ceiling at its junction with the wall, showing a small spandrel of ornately-carved foliage. A close view of a corner of the ceiling at its junction with the wall, showing a small spandrel of ornately-carved foliage. A close view of the massive carved wooden sideboard, built into one end of the dining room between two doors. Its situation at the end of the dining room can be seen in print 1. A close view of the tomb. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxxv. A close view of the tomb. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxxv. A close view of the tomb. A close view of the tomb. A confusing caption. The central structure is the Alai Darwaza, a gateway building near the Kutb Minar; the tomb (not Madrasa or school) of Imam Zamin is in the right background, partially obscured by trees. A copy of this print, made from a negative in very poor condition, can be found at pl. xxxiii, no. 67 of Forchhammer, Antiquities of Arakan (Rangoon, 1891). The photograph was presumably omitted from the volume due to its very poor quality. A cricket match is being played in the foreground. A dark, poor quality print. A dark, poor quality print. A dark and indistinct print. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. A dark and indistinct print. Credited to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. A dark and indistinct print. Credited to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. A dark print. Showing the two pillars seen in print 240 and 241. A dark print. A dark print. A dark print. A dark print. A dark print. A dark print. View looking down onto cells. A different house from the one seen in prints 1726-1727. A different house from the one seen in prints 1726-1727. A different view, with the Ankh Michauli in the background. A different view of the temple also seen in print 2122. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1302). A different view of the temple also seen in print 2122. A distant view, looking across a field, with the temple visible on the skyline. Bengal list pp. 550-551; see also, J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p. 156: 'To the east of, and separated from, the village by a small rivulet stands a half-ruined temple known as the Dewal; this temple is especially interesting, as showing the construction of temples of this class - single-cell ones - and for the simplicity of its mouldings; the temple is remarkably plain; it has in front the tall triangular opening, formed of overlapping stones, and divided into two portions by by a broad slab let in across; at present I see no remains of any mandapa in front, but the existence of the dividing slab shows that it existed at one time, as otherwise the slab dividing the opening into an entrance proper and a window becomes meaningless.' Aerial view. Aerial view of Flagstaff House and surrounding buildings.[Gelatin silver print, 178x182mm]. Aerial view of the small mosque. A Euroepan woman stands in one of the arches of the temple arcade. India Museum no. 202A. Duplicate of Photo 1000 (3421). A European couple and a group of Indians are posed against the far wall. A European couple are sitting on the roof of a pavilion: 'Mr Markham, High Court Judge at Meerut [and] Mrs H.H. Roden'. A European women is attempting to circle the pillar with her hands behind her back - the tradition is that, if successful, your wishes will come true. A faded and yellowed print. A faded print, showing the gate and city walls. No. 22 in Beato's catalogue of views, and there entitled 'Anting Gate of Pekin after the surrender, 13th October, 1860, - English and French troops taking possession.' A faded print.[Albumen print, 240x94mm]. A faded print. Duplicate at ASS (200). A faded print. Duplicate at Phot 1008/1 (200). A faded print. View looking along the hall towards the votive stupa at the far end. India Museum no. 519(a). Duplicate of Photo 1000 (2418). A faded snapshot of the bungalow. Again, the attribution of this photograph to Cole is dubious. For description, see Carr Stephen, The archaeology of the monumental remains of Delhi (Ludhiana and Calcutta, 1876), pp. 279-280: 'The origin of this building is unknown, but, about 90 years ago, the Emperor Shah Alam buried here his mother and daughter and converted the place into a burial ground for his family. Lal Banglah stands at a short distance both from Purana Qil'ah and the village of Nizam-uddin; it contains two domed mausoleums in an extensive walled enclosure...' Again, the attribution to Cole is probably incorrect. Again credited to Caddy, but more likely to be by Cornish. A close view of the mandapa, with part of the sanctuary tower visible in the background. A general view of the building seen in the preceding print, with part of a wooden summer house (seen in following print) in right foreground. A general view of the excavated brick plinth. A general view of the temple, looking towards the main entrance, with Krishna Shrine in the right foreground. The temple has the deeply-overhanging tiered roofs with terracotta tiling and richly-carved wooden gables characteristic of this area of high rainfall. A good, clear general view of the temple. A good, clear general view of the temple. A good, clear view of the sculpture, taken from the right of the figure. eproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlv (a). A good, clear view of the sculpture, taken from the right of the figure. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlv (a). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1343). A good close view from the river of the Shah Hamadan Masjid. A good general view of the main clubhouse. A good interior view, showing typical furniture and decoration of the period. Although the caption implies that this is the work of an amateur photographer, the print is mounted on card stamped with Johnston & Hoffmann's name. They may merely, however, have made the print from another photographer's negative. A good view of sculptural detail on the fa�ade. Akbar's Tomb at Sikandra. Alai Darwaza partly out of frame. Alai Minar in left foreground, Qutb Minar in right background. A large punkah hangs from the ceiling. A later print of this photograph, used to show the state of the temples before restoration, is included in M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466, pl. 3). A later view than print 873, and showing completed restoration work on the iwan of the mosque, where the plaster over the masonry has been repaired. The attribution of the photograph to Cole is probably incorrect. Ala-ud-din Gateway or Alai Darwaza immediately to the south-east of the Qutb Minar (which can just be seen in the background). Albumen print, 279 x 350 mm. Albumen print, 284 x 355 mm. Albumen print, 285 x 358 mm. Albumen print, 339 x 264 mm. Albumen print, 369 x 257 mm. Albumen print, 377 x 264 mm. Albumen print from a waxed calotype negative. The print gives a general view of the open-sided mandapa of the temple, with entrance porches on three sides. The roof is considerably overgrown with grass. Photo 1000 (976) is another copy of this print. Albumen print with arched top, 361 x 362 mm. Alexandria waterfront in background. Almost identical to, and evidently taken on the same occasion as Photo 1000 (1925). Described in Archaeological Survey of Western India, IX, p. 52 as one of the houses of 'the late Bharot Kahanji Umadsinghji in Khada Khotadi's Mahalla'.Head-on view of the fa�ade of the haveli. Almost identical to, and evidently taken on the same occasion as Photo 1000 (1925). Described in Archaeological Survey of Western India, IX, p. 52 as one of the houses of 'the late Bharot Kahanji Umadsinghji in Khada Khotadi's Mahalla'.Head-on view of the fa�ade of the haveli. Almost identical to, and taken on the same occasion as Photo1000 (1750). Almost identical to, and taken on the same occasion as Photo1000 (1750). Almost identical to print 13. (Ancient Persis Map, A3). Almost identical to print 192a. Reproduced in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 114. Almost identical to print 2176. Almost identical to print 2434. Almost identical to print 2434. Almost identical to print 338a. Almost identical to print 350a. Almost identical to print 471a. Almost identical to print 48. Almost identical to print 536. Almost identical to print 545. Almost identical to print 561a. Almost identical to print 635. A long single storey building with an iron sign over the gateway reading 'General Workshop'. A model railway, wheels of various sizes and other specimens of work are laid out on the roadway in the foreground. Also called Durga Temple.[Lantern slide, 70x57mm]. Also known as Qasr-i-dukhtar and Karwan-sarai. Similar to print 230. (Ancient Persis Map C3). Also known as the Bakra or Bukra column: see note at Photo 1000 (2858). Altar, with carved frieze of elephants, in foreground.[Albumen print, signed 'Lawton' in the negative, 281x216mm]. Altar and east window. Altar in foreground with a partially uncovered section of the dagaba frontispiece beyond. This wall is characterised by courses of elephant heads interspersed with discs.[Albumen print, signed 'Lawton' in the negative, 284x218mm]. Although apparently not described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato', this is probably a Beato view. Although attributed to Beato, this view is not listed in Hering's catalogue of Beato views and is stylistically closer to Chota Meer's photographs (Prints 31, 36, 38). Although the photographer is unknown there is an indecipherable name written on the reverse of the print, visible in the bottom right corner. The name carries the initials G.D.. Although unattributed, the style and printing process closely resembles that of Print 14 which is identified as a Wiele & Klein photograph. Although unattributed, the style and printing process closely resembles that of Print 14 which is identified as a Wiele & Klein photograph. Although unattributed, the style and printing process closely resembles that of Print 14 which is identified as a Wiele & Klein photograph. Although unattributed, the style and printing process closely resembles that of Print 14 which is identified as a Wiele & Klein photograph. A modern annotation suggests that this could be the Kotwali Building. A modern brick building in European style. A monk official and a lay official passing through the gateway.[Gelatin silver print, 113x152mm]. A more distant side view of the monolithic nandi, which is enclosed by a stone wall and colonnaded mandapa at the left. A more distant view, including the whole whole building. A more distant view, taken from a higher viewpoint, of the doorway also seen in prints 1150-1151. Small format print. A more distant view, with flagstaff at left. A more distant view. Again, the attribution to Cole is probably incorrect. A more distant view. A more distant view. A more distant view looking towards the entrnace of the rock-cut mosque, with mules in foreground. (Ancient Persis Map C3). A more distant view of the house from the driveway. A more distant view of the pillar and part of the temple behind. A more distant view of the section of wall, with jars to the left, also seen in print 1510.The print is reproduced as Plate XLV(b) in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). A more distant view of the station, with the garden in the foreground. A more distant view of the temple, showing it in its setting of sheer faced hills. Archaeological Reconnaissances, fig. 7: 'Ruins of Hindu temple and mosque on Nandana ridge, seen from north.' A more distant view than print 225, showing the hills behind the dzong. A more distant view than print 32. Second copy negative at B.25633. A more distant view than the preceding prints, showing the walled enclosure round the tomb. The attribution to Cole is probably incorrect. See note at print 902. A more general view of ceiling. A more general view of the excavated site from above, with three statues lying in the foreground and the stupa beyond. A more general view of the miniature stupa also seen in print 81. A more general view of the river frontage. A more general view of the roof. A more general view of the room seen in print 4. A more oblique view of the sculpture panels also seen in print 23. A more oblique view than print 698, looking along the fa�ade and with a portion of the building out of frame. The view appears to have been framed in this way in order to include the small, single-domed tomb standing at the extreme left of the print. An almost identical viewpoint to print 539. An almost identical view to, and taken on the same occasion as Photo 1000 (1934). Reproduced in collotype in Archaeological Survey of Western India, IX, pl. x. View of the main temple shrine, seen from where the corridor on the east side has been destroyed. The shikara is largely obscured by vegetation. An almost identical view to, and taken on the same occasion as Photo 1000 (1934). Reproduced in collotype in Archaeological Survey of Western India, IX, pl. x. View of the main temple shrine, seen from where the corridor on the east side has been destroyed. The shikhara is largely obscured by vegetation. An almost identical view to, and taken on the same occasion as Photo 1000 (1942). Described in Archaeological Survey of Western India, IX, pp. 103-105. An almost identical view to, and taken on the same occasion as Photo 1000 (1942). Described in Archaeological Survey of Western India, IX, pp. 103-105. An almost identical view to print 261.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 296x213mm]. An annotation also identifies the 'Grave of Jahanara'. An annotation on the reverse reads: 'Typical Jain carving'. An arrangement of some of the figures seen in print 363. Ancient Persis, fig. 19: 'Ruined Sasanian Palace, Sarvistan, seen from north.' (Ancient Persis Map B2). Ancient Persis, fig. 23: 'Rock-cut mosque in gorge below ruined town, Shahr-ij.' (Ancient Persis Map C2). View of arched entrance in rock-face, with figures standing at mouth to indicate scale. Ancient Persis, fig. 30: 'Rock-cut hall in 'Stone Mosque', Darab, looking from narthex towards transept D.' (Ancient Persis Map C3). Ancient Persis, fig. 5: 'Wall at back of domed hall, Palace (Atash-kadeh), Firuzabad, seen from north-west.' (Ancient Persis Map, A3). An identical view to print 424, which shows the excavated north wall of the main shrine. The caption given here appears to be incorrect. An imposing two storey brick building with stucco pilasters on the upper floor. Railway-related motifs have been incorporated in the building in the roof and porte-cochere, both of which have been constructed from sections of corrugated iron in the manner of station platform roofs. Second copy neg at B.410. An indistinct photograph. An oblique view along wall looking towards the prison. An oblique view from the south-east, slightly more distant than print 941. Slight damage along right-hand edge of negative. An open-sided wooden building with tiered roof, standing on piles. Letterpress continues: 'This is the Hall of Justice on the left of the east side of the Palace'. A note below the caption reads: 'Sasbahu temple'. A note below the caption reads: 'Teli Mandir temple'. A note below the original caption reads: 'Delhi gate interior facade...' Another, clearer view of the skylight. Another (better) copy at Photo 3/1 (51), there captioned, 'Stone slab in the Washarmanpet Police Station House, Madras, 2'-6""x2'-0"".' Second duplicate at Photo 3/2 (46). Another carved pillar, also lying on its side. Another carved pillar, also lying on its side. This is a later copy (silver print) of this image. The original print has been incorrectly bound in and numbered as print 767. Another copy (platinum print) at Photo 1000/6 (700). Another copy (platinum print) at Photo 1000/8 (888). Another copy (platinum print) at Photo 1000/8 (892). Another copy (platinum print) at Photo 1000/8 (897). Another copy (platinum print) at Photo 1000/8 (904). Another copy (platinum print) at Photo 1000/8(906). Another copy (platinum print) at Photo 1000/8 (911). Another copy at Photo 1000/6 (695): that print is signed J.J. in the negative. The initials have been cropped from this print. Another copy at Photo 1000/6 (697), there credited to D.H. Sykes. Another copy at Photo 1000/6 (698). Another copy at Photo 1000/6 (699). Another copy at Photo 2/4 (93). Another copy at Photo 430/21 (3).Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Another copy at print 105. Photo 1000/8 (908) is a platinum print from the same negative. Another copy at print 106. Photo 1000/8 (910) is a platinum print from the same negative. Another copy at print 110. Photo 1000/8 (887) is a platinum print from the same negative. Another copy at print 139. Additional copy (platinum print) at Photo 1000/8 (878). Another copy at print 141. Photo 1000/8 (878) is a platinum print from the same negative. Another copy at print 177. Another copy at print 38. Additional copy (platinum print) at Photo 1000/8 (887). Another copy at print 398. Another copy at print 562. Another copy at print 89. Additional copy (platinum print) at Photo 1000/8 (910). Another copy at print 94. Additional copy (platinum print) at Photo 1000/8 (908). Another copy of this print at Photo 1000 (734). Another copy of this print at Photo 1000 (736). Another copy of this print at Photo 1000 (737). Another copy of this print at Photo 1000 (739). Another copy of this print at Photo 1000 (742). Another copy of this print at Photo 1000 (743). Another copy of this print at Photo 1000 (744). Another copy of this print at Photo 1000 (745). Another copy of this print at Photo 1000 (746). Another copy of this print at Photo 1000 (748). Another copy of this print at Photo 1000 (750). Another copy of this print at Photo 1000 (752). Another copy of this print at Photo 1000 (753). Another copy of this print at Photo 1000 (756). Another copy of this print at Photo 1000 (757). Another copy of this print at Photo 1000 (758). Another copy of this print at Photo 1000 (760). Another copy of this print at Photo 1000 (761). Another copy of this print at Photo 1000 (762). Another copy of this print at Photo 1000 (773). Another copy of this print at Photo 1000 (775). Another copy of this print at Photo 1000 (777). Another copy of this print at Photo 1000 (778). Another copy of this print at Photo 1000 (967). Another copy of this print at Photo 1002 (1317). Another copy of this print at Photo 3/1 (49), captioned, 'South-east view of pillar near Tiruvattiyur High Road, Madras.' Another duplicate at Photo 3/2 (43). Another interior view showing cells, with horseshoe arch decoration. Another of the famous pirced marble window screens. Another photograph of the three Bodhisattvas seen in print 975. Note with Jamal-Garhi prints reads: 'The plates entered here also include photographs taken from sculptures coming from Takht-i-Bahl and Shahr-i-Buhlul. No separate arrangement was possible. nearly all the sculptures coming from these places are now in the Indian Museum, Calcutta.' Another section of the palace overlooking the lake, with a larger ghat in the foreground. Another view, taken from a different angle from print 33. Another view. Copies at Print 1 and Photo 1002 (525). Another view. Copy at Photo 1002 (535). Another view. Copy at Photo 1002 (558). Another view. Copy at Photo 1002 (584). Another view. Copy at Photo 1002 (592). Another view. Copy at Photo 1002 (616). Another view. From east. Another view. From east. Another view. From north. Another view. From north. Another view. From north-west. Another view. From north-west. Another view. From north-west. Another view. From north-west. Another view. From south. Another view. From south. Another view. From south. Another view. From south. Another view. From south. Another view. From south-east. Another view. From south-east. Another view. From south-east. Another view. From south-east. Another view. From south-east. Another view. From south-east. Another view. From south-east. Another view. From south-east. Another view. From south-west. Another view. From south-west. Another view. From west. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view. Another view during restoration work. From south-east. Another view from the same position. Another view in the Chatta Chauk showing shops. Another view of carved pillars in the Sheshagirirayar Mandapa in the Ranganatha Temple. Duplicate (later printing) of Photo 1000 (2906). Another copy at Photo 212/1 (7). Another view of the arched gateway seen in print 1676. Another view of the bastion also seen in print 110. Duplicate at Photo 1008/9 (2314).[152x203mm]. Another view of the buildings also seen in print 307. This view is from the other side and shows the courtyard entrance and perimeter wall. Another view of the building seen in print 9. Another view of the building seen in the preceding print. Another view of the bungalow seen in print 31. Henry Logan was evidently the owner or proprietor of the sugar factory seen in prints 33-5. Another view of the chorten and surrounding buildings. Landscape format. Another view of the college from inside the quadrangle.[Printing-out paper, 251x198mm]. Another view of the compound, with Humayun's tomb in the distance. Another view of the decorated walls of the Sultan's balcony, showing doorway, and to the left the minbar or prayer niche.[Albumen print, 381x305mm]. Another view of the doorway seen in print 43, taken from a greater distance, and showing the now-detached lintel lying in the foreground. Photo 1000 (1011) is a cropped copy of this print. Another view of the gatehouse seen in print 86. Duplicate at Photo 1008/8 (1677).[202x152mm]. Another view of the group of figures also seen in print 5. Another view of the group of standing pillars also seen in print 3.[Albumen print, 282x214mm]. Another view of the hall also seen in print 235.[Gelatin silver print, 113x153mm]. Another view of the horse sculpture seen in print 158. Another view of the house seen in print 47. Another view of the house seen in print 9. Another view of the interior also seen in print 19, taken from an almost identical viewpoint, but with different furniture and ornaments in the room. Frederick and Florence Bailey and another woman are seated in the room. Second copy at print 84.[Albumen print, 208x155mm]. Another view of the lotus decoration seen also in print 82. Another view of the model stupa also seen in print 78. Another view of the pillar seen in print 112. Another view of the Residency taken at the same time is at Photo 37 (14). Another view of the sculpture niche seen in print 18. Albumen print duplicate at Photo 1000 (1260).[Carbon print ('Autotype'), 153x165mm]. Another view of the sculptures seen in print 425. Another view of the shrine, with figures in the foreground. Another view of the slab seen in print 686. Another view of the temple at ASIO 662 is described in the List of photographic negatives of ancient buildings, statues and inscriptions belonging to the India Office, Calcutta, 1900, as the temple of Sri Rama. Another view of the temple seen in print 1597. Another view of the temple seen in print 50. Another view of the tomb of Sultan Abdullah Qutb Shah. Another view of the unidentified building seen in print 24. Another view of this house (Print 401) has a later annotation which reads: 'Prob. Dr Lacy's house [because] of archery', however Lacy's house is clearly captioned in Print 399 and is of a very different design. The owner of the house in this print and Print 401 is therefore unknown. Another view of this temple taken by the Archaeological Survey of India Eastern Circle (No 704) is listed as: 'Jor Mandir group, north temple'. Another view of this temple taken by the Archaeological Survey of India Eastern Circle is listed as 'Broken Jor Bangla'. It is similar in construction to the Jor Bangla or Keshta Raya temple, although in a ruined state. Another view showing the richly decorated pillars. A plaque above the entrance reads: 'Senate Hall. HH Nawab of [?]'. A poor quality photograph looking along one of the pavilions in the gardens near the Anar Sagar Lake. The attribution of this photograph to H.H. Cole is probably incorrect. A poor quality print. A poor quality print. A poor quality view of the tomb.'List of Ancient Monuments in Bengal' (Calcutta, 1896), pp. 422-23.Duplicate of Photo 1002 (8). A portrait of Curzon's mother hangs above the fireplace. Apparently an incorrect identification. This is not the same structure as seen in print 16D, which is definitely the Turkman Gate. A rather dark print. General view of sanctuary. This appears to be the same building as seen in Photo 1008/6 (546), there described simply as 'Siva Temple'. A rather dark print. A rather dark print. A rather dark print. Arcade of cusped arches inside the Nand Bhavan, with European furniture laid out beneath punkahs. Duplicate at Photo 430/27 (32). Arcade of pillars in Tipu Sultan's Palace in the Fort at Bangalore. Arcade of the Burj-i-Shamali. Arcade of the Diwan-i-Khas in foreground, domes of the Moti Masjid beyond. Archaeological Reconnaissances, fig. 11: 'Ruined wall with bastion at western end of Nandana ridge.' Archaeological Reconnaissances, fig. 31: 'Fort of Bampur, seen from near gateway.' Arched city gateway, with richly carved pilasters, spandrels and balcony. Arched entrance to the Arhai-din-ka-Jhonpra Mosque. Arched entrance to the madrassa. Second copy neg at B.20235. Arched entrance to the Quwwat-ul-Islam mosque. Arched fragment carved in relief with image of stupa. Arched gateway into the fort. Arched gateway off street. Architect's impression of the completed hospital. Architectural detail in the interior of the main entrance. Architectural drawing by A.G. Bray, ARIBA, Chartered Architect, Rangoon. Note on reverse reads: 'Plan adopted, not yet erected'. Architectural fragment; frieze with repeated Buddha images. Architectural fragment (bracket?), with grotesque figure. Architectural fragments. Architectural fragments (bracket?) in the form of head of mythical beast. Architectural plan of the first and second floors of the school.[Albumen print, 353x495mm]. Architectural plan of the ground floor and the gardens of the school.[Albumen print, 449x531mm]. Architectural views in Iraq including mosques at An Najaf and Karbala. Architrave with relief carvings. Archway inside the Lahore Gate of the Red Fort. Archway in tomb during restoration, with ladder and scaffolding in place. Archway of mosque with Iron Pillar in foreground. Archway with column in front. Ardhanarishvara Shiva (?) Ardhanishvara Shiva (Shiva as half-male, half-female). Arrows on the print point to areas requiring restoration work. Arrows on the print point to areas requiring restoration work. Arthur George Boileau Lang and Mrs B.C. Lang posed in front of the fort at Kangra. A series of snaphots recording unspecified building work at Viceregal Lodge, Simla. A number of the views appear to show the construction of an extension or additional building, while some show work inside the main house. Among the latter are photographs showing a strengthening girder being placed beneath the stairs. Photographer uncredited, but probably by Thomas Bertram.[Gelatin silver prints]. A sign on the gate post reads: 'Deoban Forest Inspection Rest House'. A similar to view to print 77, but without crowds in foreground, and focussed more on the building which is presumably the back of the Rajaram College. Another copy at Photo 598 (132). A similar view to print 1447, but taken at an earlier date during restoration work and showing scaffolding in position in the interior of the temple. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. A similar view to print 1447, but taken at an earlier date during restoration work and showing scaffolding in position in the interior of the temple. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. A similar view to print 6. 'At the risk of being considered monotonous in his subjects, the artist publishes this view. A glance at No. 6 will show that it was taken from the same position, since a portion of that view is contained in it. It is a continuation of the latter. The scenery to the right of it has a most beautiful and striking effect when viewed from the spot where this was taken. The scene, together with No. 5, was taken at sunrise, the latter when there was scarce sufficient actinic light to obtain a photograph; it is at this hour that the 'City of the Dead' can be seen to the best advantage.'[Albumen print, 240x191mm]. A slightly closer view than print 57, part of building out of photograph. A slightly distant view of house and garden. A slightly faded print. View looking across the tank (with central shrine) towards the Vedagireshvara Temple on the summit of the hill beyond. A slightly more distant view, including two corners of the chapel, with corbelling in each angle, and mihrabs or prayer niches set into the wall between. A slightly unsharp print, but see print 273. A slightly unsharp print. Close view of the doorway of the Lakshana Devi Temple, showing the elaborately carved wooden architraves and gables. A small format, amateur quality print. A small format, amateur quality print. A small format, amateur quality print. A small format, amateur quality print. A small format, amateur quality print. A small image, probably cropped down from a larger print. See Alexander Cunningham and H. B. W. Garrick, 'Report of tours in North and South Bihar, in 1880-81' (A.S.I. vol. XVI, Calcutta, 1883), pp. 92-93: 'I took two photographs of this monument, one a front, and one a side view, which was a work of some difficulty, as the pillar is surrounded by a courtyard, and we were obliged to build a temporary platform, about five feet high, with some bricks lying close by, to admit of the camera approaching to within a reasonable distance of the lion. The chief characteristic of this column is its squat appearance, and though the lion is fairly well sculptured, it looks heavy and unwieldy, and is, in my opinion, altogether less grateful to the eye than the more slender and truly elegant column at Lauriyanavandgarh.' A small print, faded and yellowed. A small structure of two joined blocks, each with pyramidal roofs of stone slabs. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlvi (a). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1349). A small structure of two joined blocks, each with pyramidal roofs of stone slabs. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlvi (a). Asoka column with English inscription on base. Asokan lion capital in the museum at Sarnath.[Lantern slide, 75X75 mm]. A somewhat faded print.[Silver printing-out paper, 134x76mm]. A somewhat faded print. General view of the octagonal domed tomb, with deeply recessed arches in each face, standing on a platform. A somewhat faded print. A somewhat faded print. A somewhat faded print. View of excavated section, showing portion of wall, with remains of large jars at left. 'In the sections as shewn in the sides of the pits below...are seen, embedded, immense numbers of great earthen jars very much in the shape of country flower pots, measuring 3' to 3' 6"" across the mouth and 2' 6"" deep. These are below the foundations of the walls, the latter in many cases cutting through them. These and other signs shew unmistakenly that we have the ruins of two distinct cities...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, p. 13). See also print 1512. A somewhat indistinct view. Duplicate at Photo 3/2 (48). A square, open-sided wooden hall with tiered roof. A number of cannons lie in the courtyard in the foreground. Letterpress continues: 'The white elephant is the same Crawfurd saw in 1826; it is now fifty years old: it has its guards, four white and eight gold umbrellas, officers of state, regalia, &v., &c.' A substantial bungalow with hipped roof and pantiles, a porte-coch�re in front of the main entrance and colonnaded verandah. A substantial private residence in European style on three floors. A substantial two-storey bungalow. A substantial two-storey stone building in European style, with porte-cochere. A tomb of similar design to that seen in print 1491. At the left is the porch converted for use as a side shrine. Attributed to Cornish in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but probably by Mukherji. View of the massive free-standing stone torana or hindola (swing), the beams ending in carved figures of seated lions. Called 'Dol Mancha' in Photo 1005/4 (1192). Precise location unidentified. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). This shows the fa�ade also seen in print 1435, but after restoration. A two storey building in European style. A typed note above the caption reads: 'Central Provinces and Berar photograph No.60 (forwarded under letter No.C/252/1884-IV, dated the 23rd October 1930)'. A typed note above the caption reads: 'Central Provinces and Berar photograph No.66 (forwarded under letter No.C/252/1884-IV, dated the 23rd October 1930)'. A typed note above the caption reads: 'Central Provinces and Berar photograph No.77 (forwarded under letter No.C/252/1884-IV, dated the 23rd October 1930)'. Below the caption is information relating to the bridge arranged as follows: '(1) Year of construction - 1913; (2) Year of restoration work done to flood damage - 1927; (3) Date of Photograph - Not known - supplied by Messrs J.C. Gammon & Co, Bombay; (4) Brief description...(5) Cost of Work...'. Aurangzeb's Mosque in background. Avenue of shrines in the precincts of the Shwe dagon Pagoda. A very dark print. A very dark print. A very distant view of temple on skyline. India Museum no. 897. A very faded print. General view. A very faded print. General view of fort walls. Signed H.D. in the negative. India Museum no. 635. Duplicate of Photo 1000 (2578). A very faded print. A very faded print. A very similar view is reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lv (b), and the building described p. 77: '...situated in the Citadel, close to the Gagan Mahall, on the east. It is said to have been built by Ibrahim II in A.D. 1589...for dancing and singing...When the general conversion of the buildings in the citadel took place this was transformed into a joint residence for the Assistant Collector and the Judge...The result in this case is a rabbit-warren of passages and awkward little compartments, in which one might almost lose oneself. Small rooms, and unsatisfactory lighting and ventilation, make it anything but a desirable modern abode. The only feature remaining, more or less intact, of the original edifice, is the great central fa�ade with the entrance hall...' A very similar view is reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lv (b), and the building described p. 77: '...situated in the Citadel, close to the Gagan Mahall, on the east. It is said to have been built by Ibrahim II in A.D. 1589...for dancing and singing...When the general conversion of the buildings in the citadel took place this was transformed into a joint residence for the Assistant Collector and the Judge...The result in this case is a rabbit-warren of passages and awkward little compartments, in which one might almost lose oneself. Small rooms, and unsatisfactory lighting and ventilation, make it anything but a desirable modern abode. The only feature remaining, more or less intact, of the original edifice, is the great central fa�ade with the entrance hall...' A very similar view to print 477, but slightly more distant. A very similar view to print 524. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 12, where the following buildings are identified on the print: Islam Khan's Tomb, Hathi Pol, Birbal's House, Jodh Bai's Palace, Mahal-i-Khas, Agra Gate. A view taken from a similar position to print 8. The decorations are similar, although some pieces have been changed and electric light has been installed instead of the central oil lamp. A virtually identical view to print 1863. A virtually identical view to print 1863. A wet stamp caption on the print reads: 'Gungabuxjee's Kothi'. A wet stamp caption on the print reads: 'Victoria Jubilee Hall, Sikar'. A wet stamp on the reverse reads: '12.7.86'. B.T. Petley and F.D. Stewart, standing in front of pagodas. This is an enlarged version of Photo 1038/3(43), attributed to E.H. Quinn. [290x225mm]. Background partly blocked out in negative. Sculptured figure on pier. Background partly blocked out in negative. Sculptured figures on pier. Back of the Raj Mahal. Back view of temple, with shikara in foreground. Part of the outer wall of the tower has collapsed, exposing the rough inner masonry wall. Badly faded print. Close view of group of small excavated stupas. Badly faded print. General view, with Dhamkh Stupa in background. Badly faded print. General view. Balustrade of Lion Throne in the Palace at Mandalay. See note at print 56. Banded frieze with Mahabharata scenes on north wall of mahamandapa. Banded frieze with Ramayana scenes on south wall of mahamandapa. Baniyas lies 40 miles south-west of Damascus. Baoli or step-well after restoration. Compare prints 3344-3352. Bara Gumbad and Mosque at left, Sheesh Gumbad on right. The attribution to Cole is probably incorrect. Barnes Court, residence of the Lieutenant-Governor of the Punjab, from the garden. Three of Sir Charles Aitchison's children and a servant stand on the lawn in the foreground. Barracks 1, 2 and 4 are identified below the print. Barracks 1-4 are identified below the print. Barrel of a British cannon planted upright in the ground. An Indian man stands beside to indicate scale. Duplicate of Photo 1008/9 (2596).[152x203mm]. Base of broken pillar, with inscription. Base of gateway (during excavations?). Base of gopura of Ramalingeshvara temple, showing detail of carved work. Duplicate (later printing) of Photo 1000 (3174). Another copy at Photo 212/7 (36). Base of minaret in foreground, with side view of balconied window beyond. India Museum no. 542(b). Duplicate of Photo 1000 (2484). base of pillar. Base of Qutb Minar visible in background. Base of stupa concealed by foreground vegetation and level of viewpoint. Base of temple vimana in right foreground, Chandeshvara Shrine at left. Bas relief. Faded print. Bas relief. Bas relief at Persepolis. Faded print. Bas relief in doorway. Faded print. Bas-relief of scenes from the Ramayana on the southern wall of the Mahamandapa in the Kailasanatha cave temple (Cave 16) at Ellora. Bas relief on arcading. Beglar specifically mentions the findings of this Navagraha (nine planets) wheel (op. cit., p. 76). Bell's typescript index refers readers to Diary XII, p. 57. Bell's typescript index refers the reader to his diary for August 1921. Bengal list, pp. 436-437. See also, Alexander Cunningham,' Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882), pp. 73-76. Bengal list, pp. 440-441; see also, Alexander Cunningham, 'Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882), pp. 57-59. Bengal list, pp. 440-441. See also, Alexander Cunningham, 'Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882), pp. 66-69. Bengal list pp. 274-275: 'Jagdispur...is celebrated for a large statue of Buddha...It is 15 feet high by 9� feet broad. It represents the ascetic Buddha seated under the Bodhi tree and surrounded by agents of the tempter Mara. On side compartments there are reliefs representing other scenes from his life and in a space above his nirvana.' The statue was also described by Alexander Cunningham, who saw it in 1862, as 'the finest and largest piece of sculpture that I have met with...considering the excellence of the sculpture, the multiplicity of the details, and the fine state of preservation, this work is in every way worthy of beinf preserved by photography.' (Alexander Cunningham, 'Four Reports made during the years 1862-63-64-65', vol. 1, Simla, 1871, p. 29).For other photographs of this sculpture, taken at various periods, see Photo 1002/4(210a), Photo 1000/28(2851), Photo 1005/4(1345). Bengal list pp. 370-371, where, owing to the confusion of nomenclature, the same building is described separately under each name (items 138 and 139). Bengal list pp. 536-537; see also, J. D. Beglar, 'Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76' (A.S.I. vol. XIII, Calcutta, 1882), pp. 118-119: '...here are a number of small but exquisitely finished temples...they have a group of the Navagrahas [nine planets] over the entrance..' Bengal list pp. 536-537: 'The execution of the sculptures outisde the temple is of the degraded and in many instances obscene class peculiar to the decline of the art during the 11th and 12th centuries AD. The temple originally measured 90'x45', but these original limits have since been considerably reduced by the destruction of all except the sanctum and antarala or antechamber. J.D. Beglar, Report of tours in the south-eastern provinces in 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), pp. 101-102. View of base of sanctuary tower showing entrance. Bengal list pp. 554-555; see also, J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 187-88: 'The largest tank in the place is known as the Chhata Pokhar, and is so named from a chhata or chhatri in the tank. The chhatri is built of stone, in what was once perhaps the middle of the tank; the superstructure consists of a couple of stout pillars, supporting a round slab, ornamented in the usual way, and surmounted by smaller ones in the usual way. The chhatri is traditionally said to be the spot where Vikramaditya used to perform puja before going to bathe.' Bengal list pp. 554-555; see also, J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 189: '...the small village of Deoli, so named from a group of temples still standing under a superb karan tree. The temples appear to have been Jain...The main temple is too far buried in, and surrounded by, rubbish for its plan to be made out without excavation...the ruins of the tower have now so shut up the entrance, that the only means of access is by crawling through, much in the manner of snakes...' Bengal list pp. 554-555; see also J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p. 187: '...the only standing structure being a small temple of brick on a small isolated hill south of the village and close to the river banks; it is built of brick set in mud, smoothed and ornamented with plain lines of mouldings, the bricks for the purpose being cut to shape; the roof is a semicircular arch internally, of bricks, cut to shape and set edge to edge; the bricks are 14""x10""; the entrance is of the usual pattern of bricks in overlapping courses; the temple appears to have been Saivic, but there were probably other temples on the hill; one of the fragments of sculpture represents a female seated on a peacock'. This sculptured slab is placed beside the entrance of the temple in this photograph, with an Indian figure included for scale. Bengal list pp. 556-557; see also, J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 168-169: '...Here is a stone temple in the middle of some low jangal; in plan, it resembles the temples of Barakar, and, like them, it consists of a single cell; like them, too, it once had a mandapa, in front of which the fragments, misarranged into a long pillared hall, still exist...' Bengal list pp. 562-563; see also, J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p. 194. Better alternative print at No. 1797. From south-east. Better quality print at Photo 355/3 (23). Bhima Ratha from the south-east.[Gelatin silver print, 98x78 mm]. Bhima Ratha in centre, with Dharmaraja Ratha at right. In the background, partially concealed by vegetation, are, from left to right, Nakula Sahadeva Ratha, Draupadi Ratha, Arjuna Ratha. Duplicate (later printing) of Photo 1000 (3092). Another copy at Photo 212/5 (38). Blind stamp reads: 'B.F.K. Rives', referring to the paper manufacturer. Bloch: 'Nothing known about this place'. Nunar is one of a cluster of villages about 40 miles east of Jhansi on the Jhansi-Baragaon road. Bloch's list incorrectly records this as 'general view from north'. Bloch's list incorrectly records this as 'general view from north'. Bloch's list suggests that this might be the back view of the Ahar-ki-Darwaza, but this is certainly not the case. Cole states (see note at print 1632) that in addition to the Ahara-ki-Darwaza there was another gateway to the north of the Moklaji Temple, and this view possibly shows that structure. Bloch's list suggests that this might be the back view of the Ahar-ki-Darwaza, but this is certainly not the case. Cole states (see note at print 1632) that in addition to the Ahara-ki-Darwaza there was another gateway to the north of the Moklaji Temple, and this view possibly shows that structure. Block of three storey arcaded buildings in Italianate style. Blurred snapshot view. Boat in the foreground, bathers and ghat steps in the background. Bodhisattva as dvarapala. Boiler-making machinery. Boundary pillar no. 4. Bourne No.1013. Bourne No.1020. Bourne No.1028. Bourne No.1028. Bourne No.1041. Bourne No.1046. This print is incorrectly captioned as: 'The Kaiser Bagh'. Bourne No.1049. Bourne No.1052. Bourne No.1074. Cracked plate. Bourne No.1075. Bourne No.1080. Bourne No.1083. Bourne No.113. Bourne No.1173. Bourne No.1175. Bourne No.1181. Bourne No.1205. Bourne No.1205. Bourne No.1206A. Bourne No.1218. Bourne No.1221. Looking across the Anguri Bagh towards the Khas Mahal, with the Taj Mahal visible in the distance. Duplicate at Photo 254/2 (24). Bourne No.1222. Diwan-i-Khas in the centre of the print. Bourne No.1223. View of the verandah on the Samman Burj. Bourne No.1227. Bourne No.1230. Bourne No.1232. Bourne No.1233. View of Itimad-ud-daulah's tomb from the garden. Bourne No.1247. Bourne No.1248. Bourne No.1249. Bourne No.1260. Bourne No.1261. Bourne No.1261. View in the courtyard of the Jami Masjid. The mosque is on the left, Shaikh Salim Chishti's tomb in the centre and Islam Khan's tomb on the right. Bourne No.1264. Bourne No.1265. Bourne No.1265. Bourne No.1272. Bourne No.1275. Bourne No.1275. Bourne No.1305. Bourne No.1326. Bourne No.1328. Bourne No.1332. Bourne No.1345. View looking over the quadrangle. Bourne No.1349. Bourne No.1351. Bourne No.1354. Bourne No.1357. Bourne No.1361. Bourne No.1369. Bourne No.1369. Bourne No.1371. Bourne No.1372. Bourne No.1375. Bourne No.1376. Bourne No.1376. Bourne No.1380. Bourne No.1380. Bourne No.1706. Bourne No.1717. Bourne No.1745. Bourne No.1752. Bourne No.1859. Bourne No. 513. Bourne No. 514. Bourne No. 515. View of the court in front of the temple. Bourne No.781. Bourne No.815. Bourne No.815. Boxed statues of Bodhisattvas. Note with Jamal-Garhi prints reads: 'The plates entered here also include photographs taken from sculptures coming from Takht-i-Bahl and Shahr-i-Buhlul. No separate arrangement was possible. nearly all the sculptures coming from these places are now in the Indian Museum, Calcutta.'Duplicate (earlier print) at Photo 1000 (5907). Bracket carved in the form of a lion. Brahma, Vishnu and Shiva. Brahma, Vishnu and Shiva (?). Brass cannon on iron gun carriage from Seringapatam. Photograph uncredited, but probably by Johnston & Hoffmann.[Silver printing-out paper, 323x187mm]. Brass cannon with coat of arms stamped on it. Inscribed 'Mandalay 1885-1886'. Photograph uncredited, but probably by Johnston & Hoffmann.[Silver printing-out paper, 291x208mm]. Brass lamp-column with Nandi pavilion beyond. Incorrectly described as Tirumala. The column stands in front and to the right of the Ganesha shrine seen in print 144.Print unsigned, but probably the photograph listed in the Nicholas & Co. catalogue (copy at Photo 745) as '1. Golden flag staff.' Duplicate at Photo 515/1 (14). Brass mask on rear wall of linga shrine in temple. Brick and stucco nandi, with doorway at front leading to well. Brick and stucco obelisk. Another copy of this print at Photo 3/1 (50), there captioned, 'North-east view of pillar between the Madras and East Coast Railway Lines, Madras. Boundary pillar of Madras town in 1822.' Another duplicate at Photo 3/2 (45). Brick and stucco obelisk. Duplicate of Photo 1008/10 (14G), there captioned, 'Boundary pillar, Washermanpet.' Another copy at Photo 3/2 (45).[Silver printing-out paper, 146x200mm]. Brick and stucco obelisk standing beside road among palm trees. Duplicate of Photo 1008/10 (13G), there captioned, 'Boundary pillar, Tandiarpet, Madras.' Another copy at Photo 3/2 (43).[Silver printing-out paper, 151x199mm]. Brick building in Indo-Saracenic style. Brick-built bridge of three arches. Described in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), p. 91: 'Painam, although a most singular village, possesses few ancient buildings. There is, however, a fine Muhammadan bridge of three arches, called the Dallalpur pul, over which the road goes to the Kampani ka kot'hi.' India Museum no. 812. Duplicate of Photo 1000 (2732). Brick-built church of modern design, seen here nearing end of construction. For other views of this church, see Photo 335/10 (24-6). Brick-built domed tomb.[Gelatin silver print, 133x82mm]. Brick-built house with intricate carved wood decoration. Brick bungalow. Brick bungalow with corrugated-iron roof; European figures posed in foreground. Another view of the same building can be found at Photo 527/2 (47). Brick bungalow with corrugated iron roof. Brick entrance gateway. Brick kilns in foreground. Brick-lined vent. Brick wall in ruinous condition. Duplicate at Photo 1008/9 (2604).[202x153mm]. Bridge leading across the moat to the entrance gateway, a cusped arch flanked by massive bastions. The fort was captured by Suraj Mal (see print 3) in 1733, and it was he who laid the foundations of the new capital. Duplicate at Photo 430/27 (4). Bridge leading to Asaf Jah's fort. Briefly described in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. Vol. X, Calcutta, 1880), p. 41: 'Close by [one of the sites at near Beshnagar], in the house of a Sadhu, were found a small lion of the Gupta period and a large figure of the Ganges standing on her crocodiel, which must certainly have belonged to a temple of the Gupta age. Both figures are in excellent condition.' British compound at Gyantse. Broken fountain slab, with decorative work in shallow relief. Photographed in situ, with water running from spout. Broken fountain slab, with decorative work in shallow relief. Photographed in situ, with water running from spout. Buddha and Bodhisattvas. (I.A. Map 28, C3). Buddha image, seated in dhyana (meditation) mudra, in a niche. The surrounding walls are also painted with images. Buddha image. Buddha image beneath a thatched roof. Buddha image carved in low relief on rock face. The view appears to have been reversed. For another photograph, drawing, and description of the image, see W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), pp.446-448.[Albumen print, 98x117mm]. Buddha image in a shrine, probably on the Shwe Dagon Pagoda platform. Buddha images carved in the rock face at one of the temples. Buddha images in panels. Buddhapada: Elliot (Madras) no. 107, Knox (1992) no. 121; dome slabs: Elliot (Madras) no. 101, Knox (1992) no. 103, Elliot (Madras) no. 106, Knox (1992) no. 99 (Knox (1992) no. 120, Buddhapada, is on the back of this piece); drum slab: Elliot (Madras) no. 21, Knox (1992) no. 63; drum frieze panel: Elliot (Madras) no. 12, Knox (1992) no. 53. Buddhist carvings in the museum at Sarnath. Duplicate at Photo 10/6 (36). Buddhist carvings in the museum at Sarnath. Duplicate at Photo 10/6 (37). Buddhist carvings in the museum at Sarnath. Duplicate at Photo 17/3 (37). Buddhist carvings in the museum at Sarnath. Duplicate at Photo 17/3 (38). Buddhist monastery or kyaung built on stilts on the shore of Inle Lake. Buddhist monk standing in front of temple. Building also known as the Painted Mosque. Building at unidentified location. Building in European style: 'The Pagoda to which this Monastery belongs and is attached, was burnt down a short time ago...The Monastery more resembles European architecture than Burman. The upper is at present occupied by priests...The lower portion of the building is occupied by our troops, and the officers have, for their amusement, made the tennis court which is to be seen in the foreground.' Building in ruinous condition, seemingly damaged by earthquake. Building is notable for its hybrid style of architecture. Building partially obscured by trees. Building partially obscured by trees and vegetation. Reproduced as a lithograph in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pl. vii, site described pp. 17-21. Building partially obscured by trees and vegetation. Reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. vii, site described pp. 17-21. Building partly hidden by tents in foreground. Building renamed the National Archives after independence. Building seen in preceding print, with horse-drawn tram in foeground. Buildings of town overlooking ravine.[Gelatin silver print, 115x158mm]. Building surrounded by high wall and stockade. Letterpress continues: 'It is hither that the fresh caught elephants are brought to be tamed, for the diversion of the King. The present King, however, is said, to be averse to amusements of the kind'. Building under restoration, with scaffolding erected along facade. Built 1865 in honour of Sir Bartle Frere. Built in 1874, designed by Sir George Gilbert Scott in the Decorated French style of the 15th century and financed by the Parsi benefactor, Sir Cowasjee Jehangir Readymoney. A note on the mount reads: 'Enclosure to Bombay P.W. letter No 33 of 28th August 1874'. Bungalow at Goomsur (formerly Russellkonda). Bungalow interior. Bungalow of W.G. Yeaman, Executive Engineer in the third division, Lower Jhelum canal. Yeaman and T.B. Tate are standing outside. Bungalow surrounded by palisade, with watchtower at right. Bungalow view with G.C. Hogg standing in the garden in the foreground. Bungalow within the grounds of the Botanical Gardens. Bungalow with rose-covered verandah. Bungalow with servants and Europeans in a carriage posed outside. Bungaow in the Residency compound. Duplicate of print 17. Burial place of Lord Clive. Burial place of Lord Clive. Burial place of Lord Clive. Burial place of Lord Clive. Burmese architecture (Buddhist); kyaungs (Burmese monasteries); monasteries; woodcarving Bust of Lord Nelson by Anne Seymour Damer, presented to the Raja of Tanjore by the artist. Duplicate at Photo 1008/10 (3G).[153x201mm]. Busy market scene in the bazaar. Butter lamps in the shrine to the Dalai Lama.[Gelatin silver print, 158x107mm]. Calendar on desk reads 'Sunday May 15', corresponding to the year 1921. Calendar on the desk gives the day as Saturday 11th April. Calendar on the desk gives the day as Saturday 11th April. Capital and smal portion of shaft of pillar. Capital of a pillar in the form of at tree. A similar view by Beglar is reproduced as a lithograph in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. Vol. X, Calcutta, 1880), pl. xv, and described pp. 43-44. The statue is now in the Indian Museum, Calcutta. Capital of a pillar in the form of at tree. A similar view by Beglar is reproduced as a lithograph in Alexander Cunningham, 'Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77' (A.S.I. Vol. X, Calcutta, 1880), pl. xv, and described pp. 43-44. The statue is now in the Indian Museum, Calcutta. Capital of pillar. Capital with relief carving. Captains Wigram and Baker-Carr standing on steps leading up to the cupola. Designed by Major Robert Smith, the cupola was positioned on top of the Qutb by 1829, however it was universally criticised and taken down in the 1840s. Caption continues: '...an earthquake, however, cracked the huge pile of solid brickwork before it was finished, and nothing more was done. It is 450 ft square and 155 ft high'. Caption continues: '...out of what was before a swampy and unwholesome hollow. The Pavilion is the gift of HH the Maharajah of Jeypore'. Caption continues: 'Dome 100'-0'' diameter x 40'-0'' deep. Weight of structure 139 tons. Designed, constructed and erected in Delhi by Jessop & Co. Ltd., 1924'. Caption continues: 'In its original form, before the improvements and alterations. It is built on the city wall, the central tower being the old north-west city gate unaltered'. Caption continues: 'It has an interior area of seventy-five feet by twenty-four and is capable of housing a company of infantry'. This is a quotation from the entry on Ta Hsang Le in Scott's Gazetteer. The print is an interior view of the open-sided zayat or rest house, with a European group relaxing in its shade. Caption continues: 'It is situated on the N side of the old city, near the present town, and is well worthy of a visit, some of the carving on the monasteries around it being very fine'. Caption continues: 'My bearer is standing in their doorway'. Caption continues: 'Over the church as far as the tree to the right the snowy mountains should appear in all their glory, but they would not come out'. Caption continues: 'The big rooms were 60 feet long & it was there we recd. the C. in Chief Sir Fredk Roberts in 1883 who was made Lord or Earl Roberts of Kandaha[r]'. View from the garden of the substantial two storey house, verandahed on both floors and with a porte-coch�re. With servants and a European figure (presumably J.D. Goldingham) posed in the garden. Note penny-farthing tricycle standing in driveway. Caption continues: 'The building to the left was my servants houses'. An annotation to the right of the print reads: 'You should look at the figures with a magnifying glass'. Caption continues: 'The central flower covers the ashes of the Maharajah and the others those of the four wives and seven slave girls who immolated themselves on his funeral pyre'. Caption continues: 'The Chief State in the Southern Shan States' charge across the Salween is Kengtung. It has an area of rather over 12,000 square miles and, marching with Siam, is a boundary state. The first party that went up here in 1889-90 had a narrow shave of being wiped out, but for Scott's tact and firmness they would have been, as the young Sawbwa was totally ignorant what he was up against. However in the end he accepted the sanad and was brought into British control'. General photograph of temple builings, with chinthes flanking the main entrance. Caption continues: 'The figure, which is of immense size, is also covered with gold; it used to have a large and valuable ruby in the centre of the forehead, but this gem disappeared about the time of our taking possession'. Caption continues: 'The hole in the wall is where the figure is standing to the right. ''Young Richard Cooper of 93rd Regiment outrun the remainder of his comrades, flying through the hole and landed unscathed, he was followed by Col Ewart of the 93rd Regiment and by three Privates of his Regiment and then by Sikhs and Highlanders'''. This is a copy of a Beato photograph (No 12 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). An original version is at Photo 27(4). See notes with Print 14. Caption continues: 'The Native Infantry guard has just changed'. Caption continues: 'The one on the right is at the base of the serpent pagoda which only partially comes in [to the picture]'. Showing a number of pagodas on the side of the very steep hill. Caption continues: 'The other man against the wall is Mr G.Y.'s bearer'. Caption continues: 'There are really 109 temples here. The 109th is outside the Quadrangle, representing the 'Meru' or top bead of the Hindu rosary, which contains 109 beads, and a devotee going round these 109 temples containing the symbol of Shiva is supposed to acquire more piety than he can possibly obtain by counting beads only'. Caption continues: 'These 'wats' as they are called are found on the frontier and differ considerably from the Burmese Pongyi Kyoungs [monasteries] and pagodas in architectural design'. Somewhat distant view of the temple buildings, with wooded hillside beyond. Caption continues: 'These two were killed at the pitched battle, fought between them, at the instigation of the Emperor Jehangir, who had commanded Kutubbuddin to carry away Meher-Un-Nissa by force. These tombs are within the graveyard of Peer Bahram'. Caption continues: 'The tower is the most recent addition and contains a peal of bells in memory of Col Walker, also a former AGG'. Captioned and dated in the negative. Captioned and numbered in the negative. 'The next place visited was Damoh, which was reached on the 19th February [and left on 4 March]. In Damoh itself there is very little of interest...There are a group of old sculptures gathered together upon a raised platform round the stem of an old tree on the bund of the Futerah tank...' (Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', p. 6). Also described in Cousens, Central Provinces list, p. 31: 'Most of the Hindu temples here were destroyed by the Muhammadans, and their materials were used to construct a fort, which, in its turn, has been destroyed, so that practically no buildings of interest remain. On the banks of the Phuteria tank are one or two modern temples, but on the platform surrounding the base of a large tree between them, are gathered together a collection of more or less mutilated sculptures from some old temple...' Another copy of this print at Photo 1002 (1221). Captioned and numbered in the negative. A closer view of the ruins of the Vishnu Temple and the statue of Vishnu. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1423). Captioned and numbered in the negative. A closer view of the ruins of the Vishnu Temple and the statue of Vishnu. See note at print 1422. Another copy of this print at Photo 1002 (1294). Captioned and numbered in the negative. A more oblique view of the main fa�ade, with the temple in shade and hence rather indistinct. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1404). Captioned and numbered in the negative. Close view of two statues (different from those seen in print 1234) in the colonnade. Figures corresponding to numbers 21-22 in Cunningham's list. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1406). Captioned and numbered in the negative. Cousens, Central Provinces list, p. 31: 'Most of the Hindu temples here were destroyed by the Muhammadans, and their materials were used to construct a fort, which, in its turn, has been destroyed, so that practically no buildings of interest remain. On the banks of the Phuteria tank are one or two modern temples, but on the platform surrounding the base of a large tree between them, are gathered together a collection of more or less mutilated sculptures from some old temple...' Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1414). Captioned and numbered in the negative. Cousens, Central Provinces list, p. 41: 'Among the other ruins on the hill is a large bracketted gateway similar to, though not so elaborate as to those at Dabhoi in Gujarat. It is in a very ruinous condition. It is one of the gateways of the old fort.' Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1388). Captioned and numbered in the negative. Credited to Beglar in Bloch's list, but in fact part of the Cousens series of numbered views. 'A visit to Pathari, twelve miles to the south of Eran, practically finished off the work of the season....At Pathari we made eight sheets of drawings, twelve photographic negatives, and eleven impressions of inscriptions' (Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', pp. 8-9). Another copy of this print at Photo 1002 (1323). Captioned and numbered in the negative. Credited to Beglar in Bloch's list, but in fact part of the Cousens series of numbered views. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1429). Captioned and numbered in the negative. Credited to Beglar in Bloch's list, but in fact part of the Cousens series of numbered views. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1435). Captioned and numbered in the negative. Credited to Beglar in Bloch's list, but in fact part of the Cousens series of numbered views. Temples partly overgrown with vegetation. Another copy of this print at Photo 1002 (1326). Captioned and numbered in the negative. Credited to Beglar in Bloch's list, but in fact part of the Cousens series of numbered views. Temples partly overgrown with vegetation. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1436). Captioned and numbered in the negative. Described in A. Cunningham, Report of a tour in the Central Provinces in 1873-74 and 1874-75 (A.S.I. vol. IX, Calcutta, 1879), pp. 115-117. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1385). Captioned and numbered in the negative. Described in A. Cunningham, Report of a tour in the Central Provinces in 1873-74 and 1874-75 (A.S.I. vol. IX, Calcutta, 1879), pp. 36-37: 'The temple known as the 'Palace of Kam Kandala' is situated on the Patpara Pahar or 'Tableleand Hill' to the west of the town. It is now a mere heap of ruins, thegreat blocks of stone of the upper walls having fallen down in a confused heap on the floor of the building. After cutting some bushes, and pushing aside some of the smaller stones, I found that Kam Kandala's palace was only a temple of Mahadeva, with the lingam and argha still standing in situ in the ruined sanctum...' Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1401). Captioned and numbered in the negative. General view of the ruined temple, standing on a raised platform whose plinth is supported by elephants carved in relief. Called the Siddheshvara Temple in Bloch's list. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1386). Captioned and numbered in the negative. General view of the sculptured tower of the temple, the mandapa destroyed. Photographed by Cousens' assistants (see note at print 1415). Another copy of this print at Photo 1002 (1223). Captioned and numbered in the negative. General view of the sculptured tower of the temple, the mandapa destroyed. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1417). Captioned and numbered in the negative. General view of the statue, standing amongst amongst the ruins of the Varaha Temple. In the background is the Vishnu statue seen in print 1294. This colossal statue of Vishnu in his boar incarnation stands some 11 feet high and 13 feet long and is covered with rows of minature carved figures. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1424). Captioned and numbered in the negative. General view of the statue, standing amongst amongst the ruins of the Varaha Temple. In the background is the Vishnu statue seen in print 1294. This colossal statue of Vishnu in his boar incarnation stands some 11 feet high and 13 feet long and is covered with rows of minature carved figures. Captioned and numbered in the negative. General view of the statue, standing amongst amongst the ruins of the Varaha Temple. See note at print 1422. In the background is the Vishnu statue seen in print 1423. This colossal statue of Vishnu in his boar incarnation stands some 11 feet high and 13 feet long and is covered with rows of minature carved figures. Another copy of this print at Photo 1002 (1298). Captioned and numbered in the negative. In the centre is the Buddhagupta Pillar and to the left the remaining column of a gateway. In the background is the massive boar statue (Varaha), and to the right of this the ruins of the Vishnu Temple. See also prints 1294-1299. 'I was somewhat disappointed with the extent of the remains at Eran, though this is compensated for by their great interest.The figure of 'Bhim Sen' is nothing more than a colossal image of Vishnu, much mutilated. There were here at least five shrines in a row, all facing east, while out before them stand two great monoliths. The plinth lines of these shrines can in most part be traced. That on the north, out of which has grown a great tree, held a life-sized standing figure of Narasinha. Next to this on the south come two little shrines, or rather, perhaps...a double shrine...The next was the shrine which enclosed the big image of Vishnu, which still stands in its original position.Beyond this again is the great Varaha, or boar, over which a building once undoubtedly stood. This image measures fourteen feet one and a half inches long by eleven feet three inches high. It is cut from a single block of stone and has been placed in the position it now occupies. Straight out before the Varaha stands the lesser of the two monolithic pillars. These shrines all contained, I believe, images of the principal avatars of Vishnu. Pillars, beams, and doorways lie about in confusion...From Sagar, Eran, and Etava we brought away six sheets of drawings, eleven photographs, and five inscription impressions' (Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', pp. 7-8). The ruins are also described in detail in A. Cunningham, 'Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77' (A.S.I. vol. X, Calcutta, 1880), pp. 76-90. Another copy of this print at Photo 1002 (1293). Captioned and numbered in the negative. In the centre is the Buddhagupta Pillar and to the left the remaining column of a gateway. In the background is the massive boar statue (Varaha), and to the right of this the ruins of the Vishnu Temple. See also prints 1294-1299. The ruins are described in detail in A. Cunningham, 'Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77' (A.S.I. vol. X, Calcutta, 1880), pp. 76-90. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1422). Captioned and numbered in the negative. Miscellaneous collection of pieces, including female figures, deities, a linga, etc.Cousens, Central Provinces list, p. 30: '...about 7 miles west of Jabalpur...At the west end of the village of Tewar, under a large tree, are collected together a great number of sculptures all more or less broken, but many of them otherwise in very good preservation, and most exceptionally well carved. Every one of them is said to have been brought from the site of the old city of Karanbel...' Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1409). Captioned and numbered in the negative. Modern tomb. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1438). Captioned and numbered in the negative. Modern tomb. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1439). Captioned and numbered in the negative. Modern tomb. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1440). Captioned and numbered in the negative. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1390). Captioned and numbered in the negative. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1394). Captioned and numbered in the negative. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1416). Captioned and numbered in the negative. Re-arrangement of pieces seen in print 1243. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1410). Captioned and numbered in the negative. Re-arrangement of pieces seen in print 1409. See note at print 1407. Another copy of this print at Photo 1002 (1244). Captioned and numbered in the negative. Showing the upper level of the Onkar Temple. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1389). Captioned and numbered in the negative. Similar to print 1321, but of poorer quality. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1434). Captioned and numbered in the negative. Captioned and numbered in the negative. The handwritten caption beneath the print incorrectly identifies the building as the Bibi-ki-Masjid. Similar to print 1257, but showing more of the screen of arches of the east fa�ade of the mosque. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1383). Captioned and numbered in the negative. The handwritten caption beneath the print incorrectly identifies the building as the Bibi-ki-Masjid. View looking north-west across the court towards the minaret, with part of the east fa�ade of the building in the foreground. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1384). Captioned and numbered in the negative. The statue is 12 feet 2 inches high and is seen here with the lower portion recently excavated. Described ('a stiff, clumsy figure') in A. Cunningham, Report of a tour in the Central Provinces in 1873-74 and 1874-75 (A.S.I. vol. IX, Calcutta, 1879), pp. 40-41. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1403). Captioned and numbered in the negative. View looking across the court towards the screen and dome of the prayer hall of the mosque, flanked by two minarets. The building is in disuse and the court is much overgrown. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1382). Captioned and numbered in the negative. View looking towards the elaborately sculptured entrance to the shrine, with the linga visible inside. Another copy of this print at Photo 1002 (1226). Captioned and numbered in the negative. View looking towards the elaborately sculptured entrance to the shrine, with the linga visible inside. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1413).Compare with Photo 1009/11(2268-71). Captioned and numbered in the negative. View looking towards the porch and entrance of the temple. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1402). Captioned and numbered in the negative. View of one of the four kiosks. 'The remains in Sagar itself, apart from the old fort, are a quantity of old temple sculpture collected by a previous tenant in the garden of the house now used as an artillery messhouse. These have been built up in imitation of little kiosks, one in each corner of the garden, but they are not now cared for. A few more sculptures are gathered together in the garden of the office of the District Council' (Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', p. 7). Another copy of this print at Photo 1002 (1303). Captioned and numbered in the negative. View of one of the four kiosks. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1418). Captioned and numbered in the negative. View of one of the four kiosks. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1419). Captioned and numbered in the negative. View of one of the four kiosks. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1420). Captioned and numbered in the negative. View of one of the four kiosks. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1421). Captioned and numbered in the negative. View of one of the four kiosks. See note at print 1418. Another copy of this print at Photo 1002 (1300). Captioned and numbered in the negative. View of one of the four kiosks. see note at print 1418. Another copy of this print at Photo 1002 (1301). Captioned and numbered in the negative. View of one of the four kiosks. See note at print 1418. Another copy of this print at Photo 1002 (1302). Captioned and numbered in the negative. View of one of the four kiosks. Captioned and numbered in the negative (caption faded). View looking across the tank towards some of the 50 or more Jain temples. Photographed by Cousens' assistants: 'Having received very indefinite information respecting remains in several places in the Damoh district, I sent out men with a camera and inscription materials to visit some of these places and bring me more accurate information. It turned out that none of these places were worth my journeying to. They were Kundal pur, Bamapura, Raneh, Hatta, Mugrone, Kanoda, and Narsinghgad...Kundalpur, twenty miles north-east of Damoh, of which place I had heard a good deal, contained several more or less modern Jaina temples, but of little interest to us, some of which are situated on the margin of a tank and others upon the hill above which surrounds it on two sides. The form of spire met with here, at Pathari, and several other places in these districts is very different to any met with in Western India. It is of a bee-hive pattern...' (Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', pp. 6-7). Another copy of this print at Photo 1002 (1224). Captioned and numbered in the negative (caption faded). View looking across the tank towards some of the 50 or more Jain temples. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1415). Captioned and numbered in the number. Head-on view of entrance porch, showing sculpture details on columns and doorway. Another copy of this print at Photo 1002 (1319). Captioned and numbered in the number. Head-on view of entrance porch, showing sculpture details on columns and doorway. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1432). Captioned and numbered in the number. Oblique view of entrance porch, showing details of carving. Another copy of this print at Photo 1002 (1318). Captioned and numbered in the number. Oblique view of entrance porch, showing details of carving. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1431). Captioned on reverse: 'Pathan gateway, Narnala Fort (nr. Akot), 1928'. Caption in Bloch's list is given as 'Ruined temple in river', but this appears to refer to the ghat and foreground area rather than the building, which appears of a secular nature. Caddy mentions the site in a report of his activities, written in camp at the end of March 1895, and subsequently printed in the Bengal Proceedings (General Department): 'At Aska a very ancient temple once stood in the river. Cows, thay say, used to visit the god there and supply him with milk; but the river and everything else has changed since. But some of the stones, endure, and let into the ghat steps are one or two ancient sculptures. There are many under the sand - twenty-one tiers of stones have been counted, where I could note but seven...A small shrine (with an inscription in the thatched Mantapam) takes the place of the ancient pile, the record of whose stones is buried in the silt of the river.' Caddy's reports are most conveniently consulted in a bound version at IOL pressmark X1200, Report: reproduction of Asoka inscriptions. A small format print, rather dark. Caption in the negative. Caption in the negative. Caption in the negative. Caption in the print reads: 'Lallbai Wazir'. Caption in the print reads: 'Majee Najubie Sahib'. For another view of the tomb, entitled 'Maija Shah's Tomb', see Photo 1000 (372). Caption is signed 'W. Stewart Sutherland, Jan 10th 1897'. Massive mausoleum in Mughal style. John Hessing (1740-1803), was born in Holland and went to India in 1764; employed in various native courts and was was made Commandant of Agra Fort in 1800. Caption note added in pencil: 'On the summit of Mihintale hill on the spot where the Mahinda alighted after his miraculous translation from India to bring Buddhism to Ceylon, c. 247 BC. Here he found King Tissa hunting the 'elk' (Sambhur) and converted him and all his followers.' General view of the small stupa, with circular brick platform and surround pillars in foregound. The image has been badly marred by marking up for cropping, with some retouching to heighten the highlights.The structure is described as follows in Ulrich von Schroeder, 'Buddhist Sculptures of Sri Lanka' (Visual Dharma Publications, Hong Kong, 1990), p.629:'This vatadage or circular relic-house with a small dagaba in it, is referred to in the inscription of Mahinda IV (965-972AD) as At vehera dage, meaning the relic-house in the inner monastery. The existing stone pillars of the vatadage date approximately from the 7th century. It is believed that the present stone pillars replaced the earlier ones carved in wood. The Mahavamsa says that Kanitthatissa (c. 167-186 AD) built a cetiyaghara at Ambatthala which was later repaired by Gothabhaya (c. 249-262 AD). The dagaba over which the relic-house was built by these two kings, therefore, must have been in existence even earlier, because the references in both cases are to the cetiya or thupa house and not to the enshrined dagaba. The Habarana rock inscription of about the 3rd century refers to a cetiya house built at Ambatthala for the Sila-ceta (Sila Cetiya), or a 'dagaba made of stone'. This reference might point to Gothabhaya (c. 249-262 AD) mentioned above. The Mahavamsa also informs us that Kutakannatissa (c. BC 44-22) built a stone dagaba at Cetiyapabbata. This reference, no doubt, establishes the identity of the Sila Cetiya. The later popular traditions interpret that this dagaba was built on a spot hallowed by Buddha on the occasion of his third visit to Sri Lanka. As a result, this spot is now considered as one of the sixteen sacred Buddhist places of worship in Sri Lanka. A stone Bodhisattva torso and the head of another Bodhisattva image nearby on the ground were in 1989 still in situ...Close by are the present Rajamahavihara and also some Mahayana rock inscriptions.'[Albumen print, signed 'Lawton' in the negative, 282x216mm]. Caption note continues: '...It is cut out of the solid rock which has been hollowed out for a temple of great dimensions and gorgeously coloured within. There are several hundred images of Buddha ranging from one of 40 feet long to the smallest of a few inches, all cut in the heart of a mountain of stone.' Close view of the doorway to the Rangiri Dambulu Viharaya or Golden Cave Temple, the surrounds carved with guardian figures and images of deities.[Albumen print, signed 'Lawton' in the negative, 150x205mm]. Caption note continues: 'Those who worship in this temple profess a religion between the Mohammedan and Hindoo and composed of Sikhs. Except one of their own sect no person ever had access within the temple until the mutiny. Gaaraa Nanule was the founder of the religion'. General view of the temple of the Sikh Guru Ram Rai, who settled here at the end of the 17th century. Caption notes read: '...16 feet in height. It has been cut out of the solid rock, and, though the carving does not entitle it to be considered a work of art, yet, the gigantic size, the correct proportions, and the labour expended on it command admiration. The work was executed by the orders of Dodda Deva Raja, A.D. 1670, and is a monument of his devout zeal.' Second copy neg at B.6494. Duplicate at Photo 2/9 (16). Caption notes read: 'Constructed for the water supply of Bangalore and named 'The Chamrajendra Water Works' after his late Highness. The embankment, which is thrown across the Arkavati River, dams back 767 c. ft. of water from catchment of 212 square miles. The inception of the scheme is due to Sir Sheshadri Iyer, the Dewan.' Caption notes read: 'Constructed in 1887, in commemoration of the Jubilee of Her Most Gracious Majesty the Queen- Empress of India, as a museum for exhibiting the arts, economic and other products of the country. It contains a library of ancient oriental literature and the latest productions of the west. The foundation stone was laid by H.H. the late Maharaja on the 20th June, 1887. The exterior of the building is decorated with figures of Hindu mythology.' Duplicate at Photo 2/9 (14). Caption notes read: 'Designed and built by Col. (now Sir) Richard Sankey, 1864-1868, for the Mysore Chief Commissioner's offices. The Mysore Government now holds its offices in the building, and the Council of Regency meets weekly in the large central hall upstairs.' Duplicate at Photo 2/9 (15). Caption notes read: 'Erected to record permanently the visit of His Excellency Lord Duffering, Viceroy and Governor-General of India, to Mysore, in 1886. The fountain was opened by His Excellency in December, 1886.' Caption notes read: 'The Albert Victor Conservatory built to commemorate His Royal Highness' visit to Bangalore. The foundation stone of this handsome and spacious glass house was laid by H.R.H. the late Prince Albert Victor of Wales, on the 30th November, 1889. Fruit and flower shows are held in it twice annually'. Duplicate at Photo 2/9 (7). Caption notes read: 'The building contains the turbines connected with the water supply of Mysore. The photograph also shows shows the feed channel. The works were completed in 1896.' Caption notes read: 'The mausoleum or gumbaz was built by Tipu Sultan for his father. It is a square building of stone, surmounted by a dome, and surrounded by a colonnade of polished pillars of black hornblende. The interior is painted in lacquer with the tiger stripe. The doors, which are double, are of ebony, inlaid with ivory.' Duplicate at Photo 2/9 (26). Caption notes read: 'The Residency was erected in 18[blank] during the time of the Hon. Arthur Cole, ondesigns taken from his family seat of Enniskillen in Ireland. It stands on rising ground in an extensive park and is 9 miles west of Mysore.' Caption notes read: 'The room is at the extreme end of the Palace on the west. Its construction is in the Hindu style, with carved wooden pillars, spaced 10 feet every way, connected at top with arched carved panels, and roofed with ceiling planks. It is furnished in the European style, and is the room chiefly used by the late Maharaja for receiving visitors and the chief officers of state.' Second copy neg at B.5974. Caption notes read: 'This building, though not pretentious architecturally, awakens interest from the fact that is was built, and for some time occupied, by the great Duke of Wellington, then Colonel Wellesley. It is situated opposite the west gate of Government House.' Caption notes read: 'This College, named in honor of H.H. the Maharani-Regent, was established in 1881. The institution is unique in its class in Southern India, educating, as it does, young ladies of the middle and higher classes of the high caste Hindus, and providing new walks of life for their widows...A Lady Superintendent selected in England, with University honors, presides, and the standard of education includes the first in Arts Degree of the Madras University. There are also special classes for preparing Brahmin widows for the Education Department and for the instruction of married ladies in subjects of domestic economy and accounts.' Caption notes read: 'This is a view taken from the gateway, over which the Navabat Khana or Music Hall of the Mausoleum is built. The graceful palms are probably those planted by Tipu, but the ancient cypress trees that once lined the central walk have gradually disappeared from decay'. Caption notes read: 'This mosque with tall minarets, which owing to the flatness of the country are conspicuous from a great distance, was erected by Tipu. It was here on the 23rd February, 1792, that Tipu assembled all the principal officers and sought their advice before signing the treaty surrendering his two sons as hostages to Lord Cornwallis.' Duplicate at Photo 2/9 (20). Caption notes read: 'This was the principal entrance to the fort and is situated on the south side. An inscription on it, in Persian, states that the foundation of the fort was in the year 1219 from the birth of Muhammad (1791 A.D.) under a favourable conjunction of the stars and planets ensuring the permanent safety of the fort.' Duplicate at Photo 2/9 (23). Caption notes read: 'Was formerly known as the Lower Residency, but is now reserved for European guests of H.H. the Maharaja. The front portion of the building was erected in 1805, under Major Wilks and is of the Doric order of architecture. The old and handsome portico with the verandah has recently been enclosed to form an extra drawing-room. The back of the building was added a few years later, by Sir John Malcolm, and comprises one of the largest rooms without pillars in Southern India. It was designed by De Haviland.' Duplicate at Photo 2/9 (10). Caption notes read: 'Wellesley Bridge, over the Kaveri at Seringapatam, was erected in 1804, under the direction of Dewan Purnaiya, at the cost of 5� lakhs, and named after the Governor-General, the Marquis of Wellesley. It is an interesting specimen of native architecture, being composed of stone pillars, capped with stone corbels, and surmounted by stone girders, on which the flags of the roadway are laid. Though rough in construction, the bridge has survived the heaviest floods for a century without injury.' Duplicate at Photo 2/9 (24). Caption on print reads: 'Ambajee'. Caption on reverse. Duplicate of Photo 195 (18). Caption on reverse. Duplicate of Photo 195 (19). Caption on reverse. Duplicate of Photo 195 (20). Caption on reverse. Duplicate of Photo 195 (21). Caption on reverse. Duplicate of Photo 195 (22). Caption on reverse. Duplicate of Photo 195 (24). Caption on reverse. Duplicate of Photo 195 (25). Caption on reverse. Caption on reverse. Caption on reverse of print. Duplicate of Photo 50/2 (114) where a note below the caption describes this print as a detail of Sach�'s No.191. See Photo 2/3 (147). Caption on reverse reads: 'Sirhind Canal. Experimental concrete arch at Rupar, loaded to 1000lbs on 29[?]. Dimensions: Span - 46'.0, curve-arc of 60o, Depth of crown 3'.0, Length of arch 10'.0. Photographed by Dr Dickson. Forwarded to Colonel Crofton, RE, for information with Do. [?], 14/9/75'. Caption on the negative reads: '(Ghizeh) Pyramide, Sphinx & Temple'. Caption on the negative reads: 'AgraTaj N.3'. Caption on the negative reads: 'Gd Pyramide de Cheops'. Caption on the negative reads: 'Porte du Saint-Sepulcre'. Caption on the print reads: 'Ruins near Mangrole Shah Patan'. Caption on the print reads: 'Sardar Bag Banglow' (sic). Caption taken from Bloch's list is suspect. The attribution of the photograph to Cole in Bloch's list is probably incorrect. Caption untraced. Carriages and attendants outside. Carr Stephen, The archaeology of the monumental remains of Delhi (Ludhiana and Calcutta, 1876), pp. 149-154. Carr Stephen, The archaeology of the monumental remains of Delhi (Ludhiana and Calcutta, 1876), pp. 190-193. Carte-de-visite photograph showing a general view of the gothic screen surrounding the Memorial Well.[Albumen print, 90x55mm]. Carte-de-visite print in the form of a collage of eight views of Roorkee, including the Thomason Civil Engineering College, a church and the Ganges Canal.[Albumen print, 55x90mm]. Carte-de-visite size photograph of Marochetti's sculpture of an angel at the Memorial Well, Cawnpore.[Albumen print, 55x90mm]. Carte-de-visite view.[Albumen print]. Carte-de-visite view looking along the fa�ade of the Thomason Civil Engineering College.[Albumen print, 90x55mm]. Carte-de-visite view looking along the ornamental water terrace towards a pavilion in the Shalimar Bagh, Srinagar.[Albumen print, 55x90mm]. Carte-de-visite view of the inn at the top of the Kirkstone Pass.[Albumen print, 90x55mm]. Carved archivolt over the entry to the Parecclesion. Print in poorish condition, with overall spotting.[Albumen print, 382x305mm]. Carved beam lying on ground. Carved figure. Carved figure. Carved figure. Carved figure. Carved figure and painted walls of the arcade running along the side of the Golden Lily Tank. Duplicate (later printing) of Photo 1000 (2949). Another copy at Photo 212/2 (9). Carved figure at entrance to Rani Gumpha cave temple. Carved figure beside temple entrance. This image is in the form of a lion, supported by a human figure with tattooed thighs. Carved figure in niche in Surya Temple at Konarka. Negative marked up for cropping. Original and duplicate negatives only, no print. Carved figure of maiden at base of entrance. Carved figure of warrior firing bow. Carved figures at the entrance to the Airakkal Mandapa. Carved figures inside the Porch of the Eight Goddesses at the eastern entrance to the Minakshi Sundareshvara Temple. Duplicate (later printing) of Photo 1000 (2944). Another copy at Photo 212/2 (4). Carved figures in the Airakkal Mandapa, Minakshi Sundareshvara TemplePossibly photographed by Nicholas & Co. The same subject is described in their catalogue. Carved finial from temple, standing on ground. Carved fountain slab. Carved fragment, with depiction of three stupas and worshipping figures. Carved fragment. Carved fragments. Carved frieze fragment. Carved friezes of scenes from the Mahabharata, on the northern wall of the Mahamandapa of Cave XVI (Kailasanatha).[Silver printing-out paper, 76x133mm]. Carved image of female figure with three breasts. Duplicate (later printing) of Photo 1000 (2923). Another copy at Photo 212/1 (24). Carved marble screen and doorway in the courtyard of the Moti Masjid. Carved panel. Carved panel. Carved panel of six seated Buddha images in two rows. Carved panel on the rihght wall showing Shiva and Parvati playing chaucer. Carved panel with figure of Parvati. Carved pediment decorated with coat of arms, cannons, flags, drums, etc. Carved pillar. Printed crazed through collodion shrinkage on negative. Duplicate (later printing) of Photo 1000 (2921). Another copy at Photo 212/1 (22). Carved pillar. Carved pillar in the form of a yali, a fantastic lion-like creature. Duplicate (later printing) of Photo 1000 (2951). Another copy at Photo 212/2 (11). Carved pillar in the Viravasantaraya Mandapa. Duplicate (later printing) of Photo 1000 (2964). Another copy at Photo 212/2 (24). Carved pillar in the Viravasantaraya Mandapa. Duplicate (later printing) of Photo 1000 (2965). Another copy at Photo 212/2 (25). Carved pillars of a woman holding a basket and a dancing man. This is the single image which has been divided down the centre to form two prints at Photo 1000 (2592) and (2593). Carved pillar with image of Vishnu. Duplicate (later printing) of Photo 1000 (2930). Another copy at Photo 212/1 (31). Carved stone architectural fragments. Carved stone balcony. Carved stone fragment. Carved stone fragment. Carved stone of temple base, lying among rubble. Carved stone slab, with inscription across top third and battle scene carved below. Epigraphia Indica, I, 346 ff.[Albumen print, 237x216mm]. Carved stone with repeating bird motif. Carved stone with window openings. Carved with floral designs. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 51: 'Another fine piece of work is the gargoyle projecting from the north wall of the shrine, and through whichthe water from the washings of the linga in the shrine flows. It is fashioned to the shape of the conventional makara with a very florid tail, the water passing our from the open mouth.' Carved wood doorway, with massive tiered eaves above. Carved wooden doors. From east. Carved wooden doorway from the palace at Mandalay. Carved wood panel (of Vishnu as Trivikrama pacing out the universe?). Carving of stupa: Elliot (Madras) no. 98, Knox (1992) no. 131; fragments of drum frieze panels: Elliot (Madras) no. 13, Knox (1992) no. 54, Elliot (Madras) no. 11, Knox (1992) no. 59; drum slabs: Elliot (Madras) no. 122, Knox (1992) no. 61, Elliot (Madras) no. 2, Knox (1992) no. 62. Carvings on upper part of rock face. Cave interior with monolithic votive stupa flanked by carved columns. Cave with man-made entrance. Ceiling of one of the pavilions. Duplicate at Photo 10/12 (38). Celestial nymphs or dancers: 'These are intended to represent the three most celebrated of the female choristers attached to the Hindoo Heaven; their names are Rhemba, Urvasi, and Tilutamma'. Cenotaph and marble screen inside the Taj Mahal. Faded and yellowed print. Cenotaph and tank built in memory of Raja Baldeo Singh of Bharatpur. Cenotaph at Bundi. Cenotaph in the courtyard on the upper storey of Akbar's Tomb. Cenotaph of Ahalya Bai on the bank of the Narbada. Cenotaph or deval of Bir Singh Deo on the bank of the Betwa at Orchha. Cenotaphs and surrounding marble screens with pietra dura decoration in the main chamber of the tomb. Cenotaphs of the rulers of Kota. Central portion and entrance of house.[Gelatin silver print, 102x157mm]. Central portion of fa�ade. Central portion of fa�ade showing entrance flanked by minarets. Central portion of the palace from the south. Central section of three-part panoramic view, comprising prints 127, 129 and 131. Innermost Asia, vol. 1, fig. 133: 'Panoramic view of interior of ruined Fort L.K., Lop Desert, taken from north corner. Remains of dwelling I in centre; timber debris of completely eroded large structure, III, in foreground; on extreme left quarters iii, iv in course of excavation; wind-erorded terrace on right marks western corner of circumvallation.' (I.A. Map 29, D4). Centre of panorama. Centre of panorama. Centre of the iwan. Duplicate of Photo 1000 (2389). Chait Singh's house at left. Charles Stotherd's bungalow. Chhappan Mahal? Children are playing in the garden. Chinese group on city walls of Kunming, the capital of Yunnan. Chinthe or guardian scultpure in front of the temple.[Gelatin silver print, 55x80mm]. Chinthes flanking the entrance to an unidentified temple or monastery. Print unsigned, but probably by Jackson. Chinthes or guardian figures flanking the northern entrance to the Shwe San Daw Pagoda. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.490. Photograph unsigned, but probably by J. Jackson. Chorten or stupa in the bazaar. Chorten or stupa with gateway beneath. Chorten or stupa with square base, with river in foreground below. Chortens in foreground, with monastery buildings beyond. Church in the Calcutta region, perhaps Shrirampur? Cicular image. Faded print. Circular building with dome. Circular domed building. Circular image, somewhat faded; entrance to guest house. Circular image, unclear. (?)Temple of Durga Narasimha. Circular image. A closer view. Circular image. Figures posed in courtyard. Circular image. Circular image. Circular image. Circular image. Circular image. Circular image. Circular image. Circular image. Circular image. Circular print. Circular print. Circular wooden building with exterior staircase, surmounted by pyatthat. Classical figure. Cloe view of domed roof of shrine, showing sculptural detail. Cloe view of three carved boxes. Close and rather cramped view of the Nandi: 'The original whence this picture is taken, is a vast monolith, and measures about twenty feet from the nose to the tail, and about eleven feet from the hump to the pedestal. It is situated in the small temple [seen in print 24]...Being in deep shade, it was very difficult to obtain a good photograph of this statue...' Close ciew of open-sided pavilion. Close detail of niche, with flowing relief carving of a stylised tree. Close detail view of pendentive. Background blocked out in negative. Closer view, from the south-east. Closer view, showing restored wall. Closer view, showing sculpture panels on side of building. Closer view. From south-east. Closer view. Closer view looking towards the south entrance of the shrine, doorway flanked by two small shrines, all richly decorated with relief carvings. Duplicate (later printing) of Photo 1000 (3106). Another copy at Photo 212/6 (8). Closer view of aqueduct.[Gelatin silver print, 79x50mm]. Closer view of building seen in print 1513. Duplicate at Photo 3/2 (67). Closer view of densely-carved facade. Closer view of entrance doorway, the passage again lined with armour and weapons.[Albumen print, 201x258mm]. Closer view of entrance porch. Closer view of entrance to school. Closer view of fa�ade of mandapa, with columns of carved animals. Closer view of gateway, showing tilework decoration. Closer view of gateway and city wall seen in print1. Closer view of gopura, taken from one side. Closer view of gopura from oblique angle. Closer view of hospital buildings. Print in poorish condition, with overall spotting.[Albumen print, 373x308mm]. Closer view of mihrab and minbar than in print 42. Print in poor condition, with overall spotting.[Albumen print, 307x375mm]. Closer view of one facade. Closer view of ruined temple. Closer view of stairs. Poor quality amateur print. Closer view of step-well. Closer view of Taj from avenue. Closer view of the arcades and pavilions on the Khwaju Bridge. Closer view of the buildings seen in print 307a. Closer view of the bungalow seen in print 29. Closer view of the dome and minarets of the mosque, taken from the same viewpoint as print 5.[Albumen print, 320x259mm]. Closer view of the facade. Duplicate at Photo 37 (43). Closer view of the fort seen in print 18. Closer view of the gopura seen at the right of print 3014: '...said to have been built, about eighty years ago, by Muroo Sheroy, the Prime Minister of the Zemindar, or large landowner of all the neighbouring districts of Shevagunga'. Duplicate (later printing) of Photo 1000 (3015). Another copy at Photo 212/3 (38). Closer view of the Hawa Mahal. Closer view of the island fortress. Closer view of the main pagoda. Closer view of the mandapa. Closer view of the mihrab (prayer niche) in the qibla wall of the mosque also seen in print 132. Print in poor condition. Closer view of the more distant portion of the corridor seen in print 25. Duplicate (later printing) of Photo 1000 (3005). Another copy at Photo 212/3 (26). Closer view of the pleasure pavilion, with the elegrant covered verandah in the foreground. With a pine tree in the foreground, described by Curzon: 'Almost touching it on the eastern side is a solitary pine, sole relic of the vanished pleasure ground. Its tufted crown waves like a funeral plume over the scene of departed grandeur.' Closer view of the Shankaracharya Temple, looking directly towards the entrance.[Carbon print ('Autotype'), 227x167mm]. Closer view of the Shwethalyaung Image of Buddha, Pegu. Closer view of the squat gopura seen in print 1410. Closer view of the stupa. Closer view of two of the rock-cut shikaras, showing carved detail. Closer view of vimana, with dome of tower out of picture. Closer view still of entrance to tunnel. Close-up detail of banded carved work and mouldings on east wall, with lathe-turned columns and pierced stone window openings above. Prints 3108-11 show a series of details on the east wall. Duplicate (later printing) of Photo 1000 (3108). Another copy at Photo 212/6 (10). Close-up detail of carved friezes at base of Keshava Temple shrine. Close-up detail of carved pillar. Close-up detail of carved work on east wall. Prints 3108-3111 show a series of details on the east wall. Duplicate (later printing) of Photo 1000 (3109). Another copy at Photo 212/6 (11). Close-up detail of carved work on east wall. Prints 3108-3111 show a series of details on the east wall. Duplicate (later printing) of Photo 1000 (3110). Another copy at Photo 212/6 (12). Close-up detail of carved work on east wall. Prints 3108-3111 show a series of details on the east wall. Duplicate (later printing) of Photo 1000 (3111). Another copy at Photo 212/6 (13). Close-up detail of carving on one of the toranas at Sanchi. Two copy negatives, no print. Close-up detail of decorated doorway. Letterpress continues: 'The door itself is scarcely more than five and a half feet high'. Close-up detail of doorway with heavily-decorated portico. Letterpress continues: 'This doorway is the communication between the Kyoung, and the three pyathats on the E. of it. In the pyathats the Bishop takes his exercise; and the images and other sacred articles are cleansed'. Close-up detail of embracing lovers. Two copy negatives, no print. Close-up detail of intricate wood-carved balcony. Letterpress continues: 'This is open scroll-work, and very beautiful'. Close-up detail of richly-carved woodwork. Letterpress continues: 'The festooned panelling on this has very fine effect; the principal lines are marked by mirror. The corbels and open tracery below are remarkable'. Close-up detail of verandah and doorway. Letterpress continues: 'Called ah-nouk (west) tazoung and used as a kind of ante-room for inferior priests and servants of the kyoung'. Close-up detail of wood-carved balcony. Letterpress continues: 'This is another example of the fertility of design amongst the Burmese. It is of ungilt wood'. Close-up detail of woodcarving. Close-up detail of woodcarving on balustrade of monastery. Letterpress continues: 'The details of this kyoung are well worth notice. It is near No'. Close-up of angle of wall, showing sculptural detail and mouldings. Duplicate (later printing) of Photo 1000 (3142). Another copy at Photo 212/7 (4). Close-up of a range of buildings in the Fort Palace. Close-up of arched entrance. Close-up of arched gateway seen at the left in print 87. Close-up of bronze bas-relief panel and statue from east side.[Platinum print.] Close-up of bronze bas-relief panel and statue from west side.[Platinum print.] Close-up of carved ceiling inside bund building. Close-up of carved column in the Rajarani temple. Close-up of carved details. Close-up of carved horses and other figures in the Sheshagirirayar Mandapa in the Ranganatha Temple. Duplicate (later printing) of Photo 1000 (2905). Another copy at Photo 212/1 (6). Close-up of carved marble frieze. Close-up of carving on massive wooden door at base of temple gopura. Duplicate (later printing) of Photo 1000 (3001). Another copy at Photo 212/3 (22). Close-up of carving on the pillars of the east torana of Sanchi Tope. Close-up of carving on the upper half of the east torana of Sanchi Tope. Close-up of carving on the upper half of the north torana of Sanchi Tope. Close-up of carving on the upper half of the west torana of Sanchi Tope. Close-up of gateway. Close-up of gateway into the palace. Close-up of horse sculptures. Close-up of main tower. Close-up of one of the four minarets at the corners of the tomb. Close-up of one of the wheel sculptures on the side of the terrace of the Surya Temple at Konarka. Original and duplicate negatives only, no print. Close-up of panel of six small frescoes. Close-up of plaques on the base of the obelisk bearing the main memorial inscription and Walter Savage Landor's celebrated commemorative verse ('Ah, what avails the sceptred race...') on the plaque beneath. Close-up of screen and pietra dura work in the (?)Khas Mahal. Close-up of sculpture of horses on the bridge. Close-up of sculpture of two bulls at one end of the bridge. Close-up of the base of the Qutb Minar. Stereoscopic pair. Close-up of the columns of the mandapa, showing carvings. Close-up of the head. Close-up of wood carvings. Close-up up view of pagodas. The htees are the structures surrounding the finial of the pagodas. Close-up view. Close-up view of a cluster of pagodas. Close-up view of altar. Close-up view of arch in Itimad-ud-daulah's tomb, showing inset windows of marble lattice work and pietra dura surround. Close-up view of a single dancing figure. Close-up view of base of temple gopura. Duplicate (later printing) of Photo 1000 (2982). Another copy at Photo 212/3 (2). Close-up view of carved columns. Close-up view of carved columns in one of the rock-cut temples. Close-up view of carved columns of the horse mandapa in the Jalakanteshvara Temple. Close-up view of carved figures in niches at base of north side of the gopura of the Brihadeshvara Temple. Close-up view of carved pillar. Duplicate (later printing) of Photo 1000 (2918). Another copy at Photo 212/1 (19). Close-up view of carved pillar. This print is given the reference number 269 by Lyon, but is also numbered 285 in the negative. Duplicate (later printing) of Photo 1000 (2919). Another copy at Photo 212/1 (20). Close-up view of carved pillars on the bottom storey of the Panch Mahal. Close-up view of carved wood cabinet. Close-up view of carvings. Lower right hand portion of negative missing. Close-up view of carvings on the Vattuvan Kovil. Duplicate (later printing) of Photo 1000 (2992). Another copy at Photo 212/3 (12). Close-up view of column, with figure of a seated Buddha in the background. The print is reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.272. Close-up view of decorated arched doorway to Miram Shah Mosque. Close-up view of gateway. Close-up view of Mackennal's Edward VII Memorial, in the form of a triumphal arch, flanked by two stone figures and surmounted by an equestrian statue of Edward VII.[Platinum print.] Close-up view of main entrance archway.[Platinum print.] Close-up view of marble lattice work and inlaid work. Close-up view of one of the carved horses and rider. Close-up view of part of fresco panle. Close-up view of part of the rock sculpture known as Arjuna's Penance. This print shows a small section immediately to the left of the two elephants. Close-up view of pavilions on platform of the tomb. Close-up view of sculptural detail, showing successive bands of repeated motifs (elephants, horses, yalis, vegetable forms, etc.) rising up the fa�ade. Duplicate (later printing) of Photo 1000 (3120). Another copy at Photo 212/6 (22). Close-up view of sculpture on the exterior of the Pudu mandapa, standing just outside the eastern entrance to the temple. Close-up view of sculpured ribs of basement. Close-up view of the bow-fronted colonnade and dome beyond.[Platinum print.] Close-up view of the carved wood bookcase also seen in print 66. Close-up view of the colossal monolithic figure of Gommateshvara Bahubali on Vindhyagiri, the largest free-standing sculpture in India. Duplicate (later printing) of Photo 1000 (3103). Another copy at Photo 212/6 (5). Close-up view of the colossal monolithic figure of Gommateshvara Bahubali on Vindhyagiri hill, the largest free-standing sculpture in India. In the interests of modesty, a paper fig-leaf has been pasted over the groin of the statue! Photograph unsigned, but probably by Dixon.[Albumen print, 252x435mm]. Close-up view of the entrance gateway, designed in the formed of a chhatri, with an unidentified Indian figure standing beside the entrance. Close-up view of the richly-carved dome of the Jain shrine of Vattuvan Kovil. Duplicate (later printing) of Photo 1000 (2991). Another copy at Photo 212/3 (11). Close-up view of the richly-decorated sarcophagus. Close-up view of the right-hand wall plaque in print 16. Close-up view of the stucco steps leading up to the monastery. Letterpress continues: 'The panels are inlaid with coloured glass, and excepting this and the rails, all is richly gilt. The peacock (the standard of Burmah) is one of the ornaments of the latter'. Close-up view of the verandah of the Aineh Khaneh. Close-upview of towers of the Vishvanatha Temple. Close-up view of wall plaque. Close-up view of wall with lavish relief carving, inlay and pietra dura work. Close view, from south-east, of lower half of east gate, showing sculptural detail.[?Matt collodion printing-out paper, 206x284mm]. Close view, from stupa side, of upper half of east gate, showing sculptural detail.[?Matt collodion printing-out paper, 286x207mm]. Close view, from the north-west, of the lower half of the north gateway, showing sculptural detail.[?Matt collodion printing-out paper, 202x277mm]. Close view, from the stupa side, of the upper portion of the north gate, showing sculptural detail.[?Matt collodion printing-out paper, 210x284mm]. Close view, head on, of doorway to temple seen in print 304, showing sculptural detail on architraves. India Museum no. 840. Duplicate of Photo 1000 (1976) and (3348). Close view, head-on of the central bay (seen obliquely in print 1498), showing detail of tile work decoration. With graves in foreground. Close view, looking along roof towards the dome of the vimana tower Close view, looking up towards capital. Close view, looking up towards the capitals of two pillars.[Albumen print, signed 'Lawton' in the negative, 147x198mm]. Close view, rather indistinct, of section of bas-relief.*Extra print, not included in original published version.[Albumen print, 180x233mm]. Close view, show carved stonework. Close view, showing carved decorations. Close view, showing carved detail at base of pillar. Close view, showing carved detail of surrounds. Close view, showing carving on side of arch. Close view, showing detail of carving. Close view, showing details of carved work. Close view, showing entrance and carved work surrounding doorway. Close view, showing mosaic tilework. Close view, showing niches with relief carving of vegetable forms. Close view, showing panel carved with floral motif. Close view, showing repairs to stonework of doorway. Close view, showing rubble wall between wooden piers and lintels . Close view, showing sculptural decoration.[?Matte collodion printing-out paper, 193x151mm]. Close view, showing sculptural decoration.[?Matte collodion printing-out paper, 194x146mm]. Close view, showing sculptural decoration.[?Matte collodion printing-out paper, 199x147mm]. Close view, showing sculptural detail.[?Matte collodion printing-out paper, 147x195mm]. Close view, showing sculptural detail.[?Matte collodion printing-out paper, 149x191mm]. Close view, showing sculptural detail.[?Matte collodion printing-out paper, 153x191mm]. Close view, showing sculptural detail.[?Matte collodion printing-out paper, 192x146mm]. Close view, showing sculptural detail.[?Matte collodion printing-out paper, 198x158mm]. Close view, showing sculptural detail.[?Matte collodion printing-out paper, 200x161mm]. Close view, showing sculptural detail.[?Matte collodion printing-out paper, 205x147mm]. Close view, showing sculptural detail. Close view, showing sculptural detail of fa�ade. Close view, showing sculptural details. Close view, showing sculptural details. Close view, showing sculpture details and mouldings at base of tower. Duplicate (later printing) of Photo 1000 (3042). Another copy at Photo 212/4 (24). Close view. Close view. Close view. Close view. Close view. Close view. Close view. Close view. Close view. Close view. Close view (oblique). Close view (slightly unsharp) of part of base.[Gelatin silver print, 156x193mm]. Close view (slightly unsharp) of sculpture of the embracing Shiva and Parvati.[Gelatin silver print, 146x193mm]. Close view from another angle. Close view from below, sith surrounding areas blocked out in negative. Close view from below of the southern face of the Potala. 'As Gould was ill, and Nepean and Dagg had not yet reached Lhasa, when we first visited the Potala, we arranged another visit for today. The Potala defies description. The strong individuality of its stark massiveness challenges comparison with any building in the world...' (Lhasa Mission Diary, 22 November 1936).[Gelatin silver print, 155x108mm]. Close view from side of arches. Close view from side of doorway with carved architraves and lintel. Close view from side of doorway with richly carved architraves and lintel. Close view from side of minbar or pulpit. Print in poor condition, with overall spotting.[Albumen print, 311x380mm]. Close view from south-west.[Gelatin silver print, 142x94mm]. Close view from the front of the nandi in the open-sided pavilion. Duplicate (later printing) of Photo 1000 (3038). Another copy at Photo 212/4 (20). Close view from the north east of the central arch and flanking minarets. Close view from the right, showing wall mouldings and sculpture. Close view from the right, showing wall mouldings and sculpture. Close view from the right at the level of the second storey, looking along the fa�ade. A small stereo-size print. The attribution to Johnston is tentative. Close view from the south-east, showing the central arch and flanking minarets of the mosque, known variously as the Rani Masjid or Queen's Mosque and Malik Sarang's Mosque. In this photograph the south minaret has been taken down to the level of the roofline, while the north minaret still stands. According to James Burgess, The Muhammadan Architecture of Ahmadabad (part II, Archaeological Survey of Western India, vol. VIII, London, 1905, pp.28-29), the southern tower was dismantled in about 1865; the northern one was later taken down by the Public Works Department on safety grounds in about 1880. Close view from the west of the sanctuary tower of the temple, also seen in the background of print 213 and now no longer standing. Not the gopura (for which, see Photo 1000 (2331)). For another copy of this print, see Photo 1000 (2333).[Albumen print, 253x350mm]. Close view looking along pilastered fa�ade of base. Close view looking along side of dome.[Gelatin silver print, 154x203mm]. Close view looking along the left-hand side of the entrance of the cave temple, showing the very richly carved columns with female bracket figures. At the left end of the fa�ade is the standing figure of the river goddess Ganga. Close view looking along the richly carved fa�ade of the mandapa. Close view looking directly up towards decorative ceiling panel. Close view looking down into the chamber beneath the main tomb. Close view looking into body of the step-well. Close view looking up towards a section of the cornice and bracketting. Cropped version reproduced in Henry Cousens, 'Bijapur and its Architectural Remians' (ASI, vol 37, Imperial series, Bombay, 1916), plate 37 (bottom). Close view looking up towards carved pilaster. Close view of (?)Buddha image on column. Close view of (damaged) Shiva sculpture. Close view of a carved panel.[Printing-out paper, 282x206mm]. Close view of a cell. Close view of a column, carved in the form of rearing horses with riders. Close view of a column, square in section at the base, with lathe-turned middle sections. Reproduced as a text illustration in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926) and described, p. 136: 'The pillars in these temples are very shapeless when compared with those in the older buildings which we have been studying in the previous pages. There is an indecision of outline and infirmity of purpose about them; they are ill-proportioned, squat and clumsy, and, if designed by the decendants of the old Chalukya builders, they show a great falling-off and general decadence in their art.' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1340). Close view of a column, square in section at the base, with lathe-turned middle sections. Reproduced as a text illustration in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926) and described, p. 136: 'The pillars in these temples are very shapeless when compared with those in the older buildings which we have been studying in the previous pages. There is an indecision of outline and infirmity of purpose about them; they are ill-proportioned, squat and clumsy, and, if designed by the decendants of the old Chalukya builders, they show a great falling-off and general decadence in their art.' Close view of a column in the mandapa, carved in the form of a rearing horse whose rider is pearing an attacking lion. Close view of a different stone from that seen in print 525a, but similarly carved with upraised hand and other figures. Close view of a doorway and a section of wall with tilework decoration.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x201mm]. Close view of a fresco of two apsaras, showing state before restoration work (see also print 12).[Albumen print, 203x141mm]. Close view of a group of suttee stones and other inscribed memorials, the majority covered by open-sided buildings with pyramidal roofs. Close view of a Hindu pillar in the colonnade. This is a less decorative example, with a largely plain shaft with octagonal and square sections. Close view of a large grave designed in a series of semi-circular tiers.[Albumen print, 292x220mm]. Close view of a line of carved pillars in the Jahangiri Mahal.[Printing-out paper, 153x217mm]. Close view of altar. Close view of altar in an unidentified temple.[Photogravure, 114x149mm]. Close view of an apsara, part of head and shoulder missing owing to detached plaster.[Albumen print, 202x143mm]. Close view of an apsara; this figure is situated immediately to the right of the one seen in print 16.[Albumen print, 203x138mm]. Close view of an arched doorway in the tomb of Muhammad Mahruk. Poor quality print.[77x99mm]. Close view of an end-column, with three outward-facing rearing animals. Close view of angle at base of gopura, showing sculptural detail and mouldings. Duplicate (later printing) of Photo 1000 (3000). Another copy at Photo 212/3 (21). Close view of angle of collapsing fort walls. Duplicate at Photo 1008/8 (2172).[202x153mm]. Close view of angle of collapsing fort walls (dry stone masonry). Close view of angle of excavated stupa base. Close view of angle of plinth wall. Close view of angle of wall, looking up towards squinch arch. (Ancient Persis Map B2). Close view of angle of wall. Close view of another capital in the verandah, also mounted upside down. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2106). Close view of another window in the temple at Narsapur. Close view of another window in the temple at Narsapur. Close view of another window in the temple at Narsapur. Close view of an unnamed temple. Close view of a particularly large viragal (perhaps 12 feet high), with an Indian figure posed beside it as an indication of scale. Close view of a pier in the interior of the Diwan-i-Am, showing carved marble panels and pietra dura work. Close view of a prayer niche. Close view of apsara, holding flower in right hand.[Albumen print, 198x138mm]. Close view of apsara, seen in profile holding a flower in a classical dance gesture. This view shows the figure before restoration. See also print 20.[Albumen print, 202mm]. Close view of arch, showing carved stonework of surrounding fa�ade. Close view of arched entrance, from one side. Close view of arched entrance.[Gelatin silver print, 155x200mm]. Close view of arched entrance. Close view of arched fa�ade, with elaborate carving in spandrels, and eaves. Duplicate (later printing) of Photo 1000 (3051). Another copy at Photo 212/4 (33). Close view of arched gateway.[100x74mm]. Close view of arched gateway. Close view of arched gateway. Close view of arched gateway. Close view of arched panel and sculptural detail. Close view of arches and pillar capitals.[Gelatin silver print, 194x150mm]. Close view of arches of the screen of the east face of the mosque. Shows decorative work of the soffits of the arches. Close view of arch in arcade. Close view of architraves and lintel of door. Close view of arch on main building. Poor quality snapshot. Close view of arch to south of iwan. Close view of archway at entrance to well. Close view of a sculptured pillar in the Durga Temple, Aihole. For another copy of this photograph, see Photo 1000/3 (346). This print also appears as plate 53 of James Burgess, 'Report of the First Season's Operations in the Belgam and Kaladgi Districts. January to May 1874' (Archaeological Survey of Western India, London, 1874). Close view of a section of bas-relief.*Extra print, not included in original published version.[Albumen print, signed 'J. Thomson' in the negative, 186x226mm]. Close view of a section of bas-relief.*Extra print, not included in original published version.[Albumen print, signed (twice) 'J. Thomson' in the negative, 186x225mm]. Close view of a section of the temple facade, showing the very fine jointing of the brickwork that Cousens mentions in his report. Close view of a section of the Valens Aqueduct.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. Close view of a section of the verandah of the Mussaman Burj, showing elaborate inlaid marble work on wall and pillars.[Albumen print, 260x212mm]. Close view of a section of wall, showing richly carved balcony and bands of decorative carving along wall. In his report, Cousens draw attention to the clumsy restoration work, visible in the photograph in the crude repointing work. Close view of a single memorial stone, with carved panels of battle scenes, maidens attending a figure, and linga worship (top panel).[Printing-out paper, 165x260mm]. Close view of a small section of the wall. Close view of a small section of the wall. Close view of a small temple shrine, the architrave over the doorway and the roof decorated with leogryphs.[Printing-out paper, 108x154mm]. Close view of a small thatched house on stilts.[Albumen print, 150x102mm]. Close view of a small votive stupa, with Buddha image in relief on lower portion (see print 80). Close view of a Toda house.[Albumen print]. Close view of attached columns and carving on face of one of the early Hindu temples uncovered in the jungle around Polonnaruwa. Popularly known as Dalada Maligawa (ie Temple of the Tooth Relic).[Albumen print]. Close view of a water pump, with arms and armour stacked in the background. The south aisle of the nave of Ayairene with the armory collection.[Albumen print, signed 'Abdullah Fr�res' in the negative, 199x258mm]. Close view of balcony window supported on curved brackets. Close view of balcony window supported on curved stone corbels. Close view of banded friezes running along base of temple fa�ade. Only the bottom of the pierced stone windows are visible. Close view of banded friezes with sculpture panels above. Close view of banded sculptural friezes on the fa�ade, with pirced stone windows above. Photo 1000 (1015) is a reduced and cropped copy of this print. Close view of banded sculptural friezes on the temple fa�ade. Close view of base, showing details of carving. Close view of base, showing sculptured figures and moulding details, with waterdpout and collecting tank in foreground. Duplicate (later printing) of Photo 1000 (3043). Another copy at Photo 212/4 (25). Close view of base of arch, showing decorative carved work.[Gelatin silver print, 201x150mm]. Close view of base of arch, showing decorative carved work.[Gelatin silver print, 202x152mm]. Close view of base of arch, showing decorative carved work.[Gelatin silver print, 203x153mm]. Close view of base of carved column. Close view of base of column, showing carved figures and repairs. Close view of base of dvajastambha seen in print 2833. Close view of base of fa�ade, showing detail of carved work and mouldings. Close view of base of gopura, showing entrance passage. Close view of base of gopura. Albumen print, 363 x 272 mm. Close view of base of gopura. Close view of base of gopura of Ramalingeshvara temple, showing detail of carved work. Duplicate (later printing) of Photo 1000 (3169). Another copy at Photo 212/7 (31). Close view of base of minaret and adjoining doorway, with measuring rod placed against the minaret to supply an indication of scale. Close view of base of oriel window. Close view of base of pillar, with sculptured disc and bracket. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (63). Close view of base of pillar, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (60). Close view of base of pillar, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (61). Close view of base of pillar, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (62). Close view of base of pillar seen in print 120. Faded print. Close view of base of richly-carved gopura in the Ramalingeshvara Temple. Duplicate (later printing) of Photo 1000 (3167). Another copy at Photo 212/7 (29). Close view of base of shikara, showing moulding and sculptural detail.[Printing-out paper, 292x239mm]. Close view of base of shikara, showing moulding and sculptural detail. For a detailed description and history of the building, see Cousens' Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, pp. 2-3. Close view of base of shrine, showing entrance. Close view of base of shrine, showing entrance. Close view of base of stupa. Close view of base of temple. This view, which shows the side not visible in print 138, is taken from the top of the pillared hall and looks down onto the doorway and window apertures above. Close view of base of temple wall, showing carving of fa�ade. Close view of base of the angle minaret and part of the verandah. Close view of base of tower. Close view of base of tower. Close view of base of tower. Close view of base of tower. Close view of base of wall of ruined stupa. Close view of base or arch showing portion of buried plinth. Close view of base showing sculptural detail of the Parashurameshvara Temple.[Gelatin silver print, 190x294mm]. Close view of bas-relief of battle scene.*Extra print, not included in original published version.[Albumen print, signed 'J. Thomson' in the negative, 234x184mm]. Close view of blind archway, with grave in foreground. Close view of blind doorway, showing carved surrounds. Close view of blind doorway in rock-cut shikara, showing carved surrounds. Close view of blockhouse on the heights of Siah Sang. Another copy at Photo 98 (47). Close view of Bodhisattva image in shrine in the Avalokiteshvara Temple. Close view of bracket carved in the form of a yali. Close view of brick cell. Close view of bricked-up doorway, flanked by sculputres of guardian figures.[Albumen print, 290x226mm]. Close view of brick structure. Close view of brickwork of tower. Close view of Buddha image (head defaced) carved in relief on pillar.[Gelatin silver print, 153x204mm]. Close view of Buddha image and altar. Close view of Buddha image carved in relief. Faded print. Close view of building, looking towards entrance from driveway. Close view of building, partially obscured by trees. Close view of building. Close view of building foundations. Close view of bullock on the frieze running round the capital. Close view of calligraphically inscribed stones.[Gelatin silver print, 140x83mm]. Close view of capital and upper half of pillar. The pillar has an octagonal shaft, splaying outwards at the capital, which is decorated with a band of dwarves carved in relief. The head of the shaft is decorated with a loop and tassel design. This appears to be one of the columns from the third circle of the Lankarama Dagaba: see James G. Smither, 'Architectural Remains, Anuradhapura, Ceylon' (London, 1894, plate 13). See also print 31.[Albumen print, signed 'Lawton' in the negative, 148x202mm]. Close view of capital of pilaster. Close view of capitals of the columns of the unfinished vihara cave. Close view of capitals of two pillars with octagonal shafts. Close view of carved architrave. Close view of carved archway. Close view of carved base of a pilaster, adorned with two female divinities or nymphs (apsaras), each wearing ornate three-pointed floral head-dresses or crowns.'This subject represents the ornamented pilasters which adorn each side of the inner gateway of the temple. The female figures shewn occur in groups throughout the walls of the entire building. They are nearly life-size, and are known to the natives as the Chao Savan, who are supposed to form the retinue of the deified kings. They are found almost invariably wearing this three-pointed crown; and the same subjects are again found on a smaller scale, as Tewadah (angels), floating in mid-air above some of the bas-relief representations, and sculptured in dancing attitudes on the frieze of the inner galleries.'('Description of the Photographs', p. 45.)[Albumen print, signed 'J. Thomson' in the negative, 185x227mm]. Close view of carved base of column. Close view of carved brickwork, with relief (lower half only) of figure. Close view of carved brickwork of the Nirvana Temple Close view of carved capital, with column broken away. The print has been mounted on the page upside down. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2105). Close view of carved capital. Close view of carved capital and bracket of pillar. Close view of carved capital in the Archaeological Museum. Close view of carved column, with massive curved bracket capitals. Close view of carved column. Close view of carved column. Close view of carved column in front of entrance to the mandapa. Close view of carved column in the mandapa. Close view of carved column in the mosque colonnade.[Gelatin silver print, 153x204mm]. Close view of carved columns and mouldings. Close view of carved cross-member. Close view of carved detail, similar to print 2098. Close view of carved detail. Close view of carved detail. Close view of carved detail. Close view of carved detail at base of nandi. Close view of carved detail of moulding running along temple fa�ade. Close view of carved detail of screen arch of the Quwwat-ul-Islam Mosque. Close view of carved doorjamb. Close view of carved eagle amongst foliate forms. Close view of carved figure. Poor quality print, faded. Close view of carved figure at base of column. Close view of carved figure from Bharhut in the Indian Musem. Close view of carved figure of maiden and animals at base of gopura. Close view of carved figures along edge of panel. Close view of carved figures at base of the west facade of the vimana of the Brihadishvara Temple at Thanjavur. Close view of carved figures in angle of square panel. Close view of carved fragment. Close view of carved fragment. Close view of carved fragment of outer wall of stupa. Close view of carved fragments. Close view of carved geometric forms. Close view of carved Hindu pillars. Close view of carved Hindu pillars in the mosque. Close view of carved Hindu pillars used inside Ahmad Shah's Mosque. Close view of carved lintel. Background blocked out on negative. Close view of carved lintel. Close view of carved lintel (the Nine Planets?). Close view of carved lintel over doorway. Close view of carved lintel piece incorporated in mosque.[Gelatin silver print, 200x152mm]. Close view of carved medallion. Close view of carved niches. Close view of carved panel. Close view of carved pendant at centre of dome. Close view of carved pilaster section. Close view of carved pillar. 'To the south of the temple is a one storied matha or monastery, the quadrangle of the first floor of which is surrounded by a pillared corridor, the pillars being of various patterns and artistically carved. On the second floor is an inscription which tells us that the monastery was built by an ascetic called Bhavabrahma in A.D. 1169, in the time of the Chohan King Prithvideva II. Some of the pillars, however, belong to a very much older building, the one in photo. No. 2453, being exceptionally well carved.' (Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 57). Close view of carved pillar. Close view of carved pillar. Close view of carved pillar. Close view of carved pillar. Close view of carved pillar. Close view of carved pillar. Close view of carved pillar and foundations of building. Close view of carved pillar and half medallion. Close view of carved pillar at excavated site. Close view of carved pillar at right of entrance to Cave XXIV. Close view of carved pillar of Jarah ki Math Temple. Close view of carved pillar or post. Close view of carved pillars. Close view of carved pillars at entrance to mandapa. Close view of carved pillars in porch. Close view of carved pillars on ground. See note at print 30a.[Woodburytype, 176x177mm]. Close view of carved pillar with cushion capital. Close view of carved pillar with figure. Close view of carved slab with inscription. Close view of carved stone, lying among fallen masonry. Close view of carved stone.[Gelatin silver print, 201x149mm]. Close view of carved stone doorstep. Close view of carved stone doorway of shrine. Close view of carved stone doorway of the storehouse. Close view of carved stone finials. Close view of carved stone lintel. Close view of carved stone lion amidst foliate forms. Close view of carved stone minbar.[Woodburytype, 236x185mm]. Close view of carved stone panel. Close view of carved stone panel with floral and geometrical designs. Close view of carved stone panel with floral motifs. Close view of carved stone screen (damaged) in the Rangaswami Temple, Bankapur. Inscribed in pencil on the reverse: 'F.1. Carving at Hampi, Deccan. [Word(s) illegible]' and 'In the [?]pch [porch?] of Bunkerpore, Deccan'.[Albumen print, 204 x 156 mm]. Close view of carved stone steps, with semi-circular moon stone at bottom, and pillars on platform beyond.[Gelatin silver print]. Close view of carved stone window. Close view of carved stone window. Close view of carved stonework. Close view of carved stonework. Close view of carved stone work. Close view of carved stonework. Close view of carved stonework on inner face of arch. Close view of carved stone work on the side of the pulpit: 'Within the mosque, on either side of the mimbar or pulpit steps, are some beautiful panels of carved and undercut arabesque, quite the best specimens of its sort that we met with during the season. This has been specially prepared for the mosque and is not part of any previous temple.' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 16). Close view of carved stonework to left of doorway. Close view of carved swan amidst foliate designs. Close view of carved walls of well. Close view of carved wood doorway. Close view of carved wooden detail. A very contrasty print. Close view of carved wooden detail. Close view of carved wooden window. Close view of carved wooden window in a private house. Close view of carved wood pillar of porch. Close view of carved work. See note at print 1648. Close view of carved work. Close view of carved work above arched doorway. Close view of carved work along inner face of balcony window. Close view of carved work at base of column. Close view of carved work on attached pillar of colonnade, with the Iron Pillar visible in the court beyond.[Gelatin silver print, 149x204mm]. Close view of carved work on ceiling lintel and supporting column brackets. Duplicate (later printing) of Photo 1000 (3061). Another copy at Photo 212/5 (6). Close view of carved work on column. Close view of carved work on porch pillars. Close view of carved work on temple fa�ade. Close view of carving. Close view of carving. Close view of carving. Close view of carving at base of gopura of Ramalingeshvara temple. Duplicate (later printing) of Photo 1000 (3168). Another copy at Photo 212/7 (30). Close view of carving of stone beam and bracket. Close view of carving on the cornice above left-hand (east) opening to the cave temple. This is in the form of a horseshoe shaped niche or window containing an image of Brahma with three heads. Close view of carvings and oriel window. Close view of carvings on exterior. Close view of central entrance arch and flanking minarets. Close view of central opening in fa�ade. Close view of central portion of east fa�ade. Close view of central portion of fa�ade, with entrance archway. Close view of central portion of house, showing entrance porch. Close view of central portion of the fa�ade of Sayyad Alam's Mosque, showing iwan with flanking truncated minars. Close view of central section of the Potala Palace.[Gelatin silver print, 157x104mm]. Close view of chancel. Close view of chhatri. Close view of chorten (stupa). Close view of chorten or stupa, a modest structure with a square base, with entrances in each face, with two tiers of thatched roof above. Close view of chorten or stupa, but a very contrasty print. Caption note continues: 'Throughout Ladac these erections are continually met with, they contain the ashes of the Lamas, the Buddhist priests, and other relics consecrated by superstition.' Close view of clusters of pillars and decorated basement. Close view of collapsing portion of wall. Close view of colonnaded verandah. Signed in the negative O.S. Baudesson 1882. Close view of colonnaded verandah. Signed in the negative O.S. Baudesson 1882. Close view of colonnade of Hindu pillars in the mosque: 'The Ravali Masjid...has been constructed in part of old Hindu materials...entirely trabeate in design with an open pillared fa�ade - a colonnade runs round the somewhat cramped courtyard. The northern or main entrance has a large and pretentious porch with a deep flight of steps and a large domical ceiling...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 16). Close view of column, showing sculptural detail. Close view of column, showing sculptural detail. The shaft of this column is plainer than the one seen in print 1930. Close view of column, with relief sculpture on one face. (Ancient Persis Map B1). Close view of column, with surrounding areas blocked out on negative. Close view of column capital. 'About three miles from Mandsaur is the village of Sondani, where, in adjoining field, are lying the broken parts of two large columns or lats of the Gupta period. They both bear one and the same inscription setting forth the exploits of Yasodharman, and in particular, commemorate his victory over the Huna prince Mihirakula. They were evidently intended as columns of victory...' (Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 64). In the background can be seen the two sculptured figures seen in print 2497. Close view of columned pavilion. Close view of columned verandah and doorway. Close view of column in porch. Close view of column inside the temple mandapa, with alternating square and octagonal sections. Panels on the square sections are carved with images of Vishnu. The column is surmounted by ornate curved brackets supporting the interlocking lintels above. Close view of columns, one with Varaha sculpture. Close view of columns on upper verandah Close view of columns supporting roof on massive curved brackets. Close view of column with female figure carved in niche. Close view of column with sculpture of amorous couple.[?Matte collodion printing-out paper, 165x199mm]. Close view of corbelled balcony of one of the dalans on the edge of the Hauz Khas Tank. Close view of corner in interior, with remains of squinch arch above plasterwork cornice. (Ancient Persis Map, A3). Close view of corner in interior of building. (Ancient Persis Map B2). Close view of corner of basement of sarcophagus seen in print 3842, showing detail of carving. Close view of corner of base of temple, with carved water-spout. Close view of corner of excavated site. Close view of corner of facade of Itimad-ud-daulah's Tomb, showing the elaborate inlaid marble work and lattice-work windows.[Albumen print, 277x216mm]. Close view of corner of tomb, showing curved brackets beneath the eaves.[Albumen print]. Close view of corner of wall, showing decorative tile and inlay work, with a band of calligraphic decoration above.[Albumen print, signed 'Abdullah Fr�res' in the negative, 202x258mm]. Close view of cornice round shade over the door. Close view of cornice with carved frieze. Close view of curved stone waterspout on wall of temple, with stone trough beneath. Duplicate (later printing) of Photo 1000 (3048). Another copy at Photo 212/4 (30). Close view of cusped arch and room beyond. Close view of cusped archway and calligraphic decoration on surrounds. Close view of cusped archway and inlaid marble work. Close view of damaged masonry at base of gopura. Close view of damaged mihrab (prayer niche). Close view of damaged sculpture slab. Close view of Dashavatara frieze. Close view of decorative (?iron) pillar in chancel of the Armenian Church at Surat. Close view of decoratively carved bracket.[Gelatin silver print, 159x205mm]. Close view of decorative tile work in the central archway of the mosque. Close view of decorative tilework in the tomb.[Albumen print, 199x257mm]. Close view of decorative tilework of the Tomb of Sultan Selim II in the south courtyard of Haghia Sophia.[Albumen print, 201x258mm]. Close view of decorative tilework on a wall of the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 202x257mm]. Close view of dome, photographed from the roof. Close view of dome, taken from the roof of the mosque. Close view of dome. Close view of domed vimana. Close view of domed vimana tower, showing detail of carved work. Close view of dome of vimana, taken from the roof. Close view of doors. Close view of doors. Close view of door surrounds of ruined temple, showing sculptural detail. Identified on reverse of print as 'Kali's Temple'. Close view of doorway, showing calligraphic decoration on jambs and lintel. Close view of doorway, showing carved surrounds. Close view of doorway, showing carved wooden architraves. Close view of doorway, showing carved woodwork of a series of architraves. Close view of doorway, showing carving on architraves. Close view of doorway, showing elaborately carved architraves. Close view of doorway, showing ornately carved architraves and surrounds. Close view of doorway, showing richly carved architraves and surrounds. Close view of doorway, showing richly-carved architraves and surrounds. Close view of doorway, showing sculptural detail of surrounds.[?Matte collodion printing-out paper, 292x209mm]. Close view of doorway, showing sculptural detail of surrounds. Captioning for prints 23a and 24b has been inadvertently transposed.[Gelatin silver print, 161x200mm]. Close view of doorway, showing sculptural detail of surrounds. Close view of doorway, showing sculptural surrounds. Close view of doorway, showing surrounding decorative brickwork.[Woodburytype, 186x236mm]. Close view of doorway, showing tracery work on surrounds. Close view of doorway, showing wood carving on architraves and surrounds. Close view of doorway, with elaborately carved wooden surrounds. Close view of doorway, with pilasters carved in light relief on either side supporting guardian monsters on their capitals.[Albumen print, signed ' Lawton' in the negative, 147x200mm]. Close view of doorway, with richly-carved guardian figures flanking the entrance. Photo 1000 (1068) is a cropped and reduced copy of this print. Close view of doorway, with surrounding area blocked out in negative. Close view of doorway: 'The doorway here is like the Sirpur doorways, having the outer frame mouldings carved in bold relief with small figures, and the life-sized ladies, one on either side, each under an umbrella and attended by maids. The inner frame mouldings and jambs are more delicately chiselled with an abundance of lacelike arabesque into which lotus medallions and floriated makaras enter largely. Here Vishnu, seated upon Garuda, occupies the post of honour over the middle of the doorway.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 31). Close view of doorway. (Ancient Persis Map B2). Close view of doorway. Close view of doorway. Close view of doorway. Close view of doorway. Close view of doorway. Close view of doorway. Close view of doorway. Close view of doorway. The lintel is cracked and collapsing and is here seen supported by three lengths of timber. Close view of doorway and carving of architraves. Close view of doorway and decoratively carved brackets supporting the canopy above. Close view of doorway and elaborately carved wooden surrounds. Close view of doorway and lower half of east face of temple. Close view of doorway and portion of surrounding fa�ade. Close view of doorway and richly-carved flanking guardian figures. Oakeley draws the reader's attention to the cobweb in upper corner of the doorway, presumably to indicate the detail captured on his waxed paper negatives. Close view of doorway and sculptured surrounds: 'The entrance doorway of the hall is elaborately carved and here we have images, but they would have been covered and hidden by the porch in front had it been completed. Standing on either side of the doorway are nude Jaina figures. Over the lintel, upon the dedicatory block, is a small seated Jina...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 3). Close view of doorway and surrounding carved stonework. Close view of doorway and surrounding facade.[Albumen print]. Close view of doorway and surrounding sculptural decoration. Close view of doorway and surrounding sculpture.[Albumen print, 166x222mm]. Close view of doorway at the base of the Qutb Minar. A similar photograph is reproduced in Sir John Marshall's 'Annual Report of the Director-General of Archaeology in India 1919-20' (Calcutta, 1922), plate 12c, there captioned, 'Qutb Minar: entrance doorway, showing original kangras similar to contemporary Chinese examples. Wrongly thought by Fergusson and Cunningham to be an innovation by Major Smith.'[Gelatin silver print, 151x203mm]. Close view of doorway flanked by richly carved guardian figures.[Albumen print, 277x225mm]. Close view of doorway from the south-east. Close view of doorway of Ganesh Pol. Close view of doorway seen in print 37. Close view of doorway showing calligraphic and geometrical decoration carved in relief, with cenotaph visible beyond in the interior. Close view of doorway showing sculptural detail of surrounds. Close view of doorway to tomb, with decorative carved surrounds. Close view of doorway with figure, probably Henry Cousens, leaning against the architrave.[Printing-out paper, 222x283mm]. Close view of doorway with food opening to one side. Close view of doorway with inscription above. Close view of doorway with richly-sculptured surrounds. Close view of drinking fountain on one face of the Ahmet III Fountain.[Albumen print, 374x308mm]. Close view of east end.[Albumen print]. Close view of east front, showing sculptured columns. Close view of elaborately carved column with pot and foliage capital. Close view of elaborately carved doorjamb. Close view of elaborately carved fountain slab. Close view of elaborately carved pillar with cushion capital. Close view of elaborately carved wooden capital (?in Shakti Temple). Close view of elaborately carved wooden doorway and surrounds. Close view of elaborately decorated cusped arches. Close view of elaborately sculptured gateway. Close view of end wing of a bungalow on stilts. Close view of entrance, showing carved stonework. Close view of entrance, showing massive pillars. Close view of entrance, showing richly-carved stonework. The opening is supported by two attached pillars with elephant head capitals with their trunks joined beneath the lintel. Close view of entrance, the lintel supported on two carved columns. Close view of entrance. (Ancient Persis Map C3). Close view of entrance.[Printing-out paper, 199x252mm]. Close view of entrance. Close view of entrance. Close view of entrance and arched porch.[Albumen print, 325x262mm]. Close view of entrance and porch on south facade.[Albumen print]. Close view of entrance and surrounding area, showing carving of banded moulding. The copy of this print at Photo 1000 (2327) is captioned 'North entrance': the view possibly shows the entrance on the north-east side near the smaller Nandi Mandapa.[Albumen print, 299x245mm]. Close view of entrance archway. The photograph gives a clear view of the manner in which the blocks of the voussoir are keyed into one another. Close view of entrance doorway in gopura, flanked by sculptures of figures standing on elephants.[?Matte collodion printing-out paper, 290x209mm]. Close view of entrance fa�ade. Close view of entrance of ruined tomb shrine. (Ancient Persis Map B1). Close view of entrance porch, with nandi in front of doorway. Close view of entrance porch. Close view of entrance porch of mandapa, showing sculptured columns. Close view of entrance showing sculptured pillars, carved with figures and serpents. Close view of entrance to porch, showing sculptural detail of columns. Close view of entrance to shrine flanked by dvarapalas (guardian figures). Close view of entrance to the Alai Darwaza, showing decorative carved work of the archway.[Gelatin silver print, 238x273mm]. Close view of entrance to the imambara, showing shell damage, with a group of soldiers posed in front. Caption as it appears in Hering's catalogue of Beato's views in square brackets. [Albumen print, 300x246mm]. Close view of entrance to Vice Consulate, with figure standing in front of doorway.[73x98mm]. Close view of excavated area, with an Indian figure posed for scale. Close view of excavated area.[Gelatin silver print, 155x203mm]. Close view of excavated base of stupa. Close view of excavated base of wall, showing moulding details. Close view of excavated brick structure. Close view of excavated columns. Albumen print duplicate (very faded) at Photo 1000 (1266).[Carbon print ('Autotype'), 229x180mm]. Close view of excavated courtyard, with circular well in foreground. Close view of excavated pillar base, from side.[Gelatin silver print, 152x201mm]. Close view of excavated pillar base.[Gelatin silver print, 201x150mm]. Close view of excavated portion of brick stairs. Close view of excavated remains. Close view of excavated section, showing remains of wall. Close view of excavated section of wall, with jars embedded beneath the brickwork.The print is reproduced as Plate XLVI (c) in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). Close view of excavated section with embedded jars. With an Indian man seated in foreground to indicate scale. The print is reproduced (heavily cropped)as Plate XLVI (b) in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). Close view of excavated stupa, complete except for top of dome. Close view of excavated stupa base. Close view of excavated trench, showing wall. Close view of excavated trench. Close view of excavated wall, with Jain temple in background. Close view of exterior fa�ade of gateway. Close view of fa�ade, showing balcony windows supported on elaborately carved brackets: 'The private Hall of Audience forms the west side of a square, the north side being occupied by the base of the curious pyramidal tower, here represented'. Duplicate (later printing) of Photo 1000 (3052). Another copy at Photo 212/4 (34). Close view of fa�ade, showing new piers built around doorway. Close view of fa�ade, showing sculptural detail.[Gelatin silver print, 286x195mm]. Close view of fa�ade, showing sculpture and moulding details, with steps and entrance at right. Duplicate (later printing) of Photo 1000 (3046). Another copy at Photo 212/4 (28). Close view of fa�ade, showing sculpture and moulding details. Duplicate (later printing) of Photo 1000 (3047). Another copy at Photo 212/4 (29). Close view of fa�ade, showing sculpture niches. Close view of fa�ade, with soldiers on parade in foreground. Print in poorish condition, with overall spotting.[Albumen print, 381x305mm]. Close view of fa�ade, with wall painting of tiger beneath window. Close view of fa�ade.[Gelatin silver print, 201x150mm]. Close view of fa�ade. See note at print 4. Close view of fa�ade. Close view of fa�ade. Close view of fa�ade and archway. Close view of fa�ade and entrance.[Gelatin silver print, 300x204mm]. Close view of fa�ade and small ancillary shrine. Close view of fa�ade of one of the detached shrines, showing the rich sculptural detail. For a more general view of this sculpture, see Photo 1000 (2334). Close view of fa�ade of upper storey. Close view of female figure carved in relief on railing pillar. Close view of figure of Vishnu carved on inner wall of shrine. Close view of figures at base of jamb. Close view of figures carved along edge of panel. Close view of figure sculpted on column. Close view of figures in brass along the roofline. Close view of fine carved decorative detail on base of column. Close view of finely carved octagonal base. Close view of finely-carved pierced stone windows. Close view of finely carved relief panels. Close view of finial on temple roof. Close view of fireplace and chimney in the Hall of the Hearth in the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 202x257mm]. Close view of five carved balustrade upright. Close view of five pieces of decorative brickwork mounted on a wooden panel: 'These specimens, so frequently mentioned in the foregoing pages as embossed bricks, will give a fair idea of the exterior ornamentation on most of the Gaur buildings. By a close examination of plates 2 and 3 their original places may approximately be assigned to them. The Dakhil Gate and Qadam Rasul Mosque are ornamented in the same style; and from the latter most of the patterns formerly employed in quilting on Maldah silk were derived. On the Tantipara Mosque these bricks are combined with coloured encaustic tiles, which are the chief characteristic of the Lattan Mosque, where embossed bricks, generally in the shape of large roses, are only found over portals and arches. Coloured tiles are also to be seen in the debris of Husain Shah's tomb, the Chand and Nim Gates, and the domed erection adjoining the Eastern Gate of the Fort. On the small Golden Mosque the embossed workmanship is extremely delicate, in black polished stone. The Large Golden Mosque is also faced with the same stone, highly polished, but with no traces of embossed work on the ruin as it now stands, though Creighton, in his illustration, gives the whole front of the building the same ornamentation as its smaller namesake.'[Woodburytype, 231x182mm]. Close view of flight of steps leading to terrace.[Albumen print, 225x168mm]. Close view of flight of steps leading up to entrance. Close view of fort gateway. Close view of fort gateway. Close view of foundations. Close view of fountain, showing carved stonework.[Albumen print, signed 'Abdullah Fr�res' in the negative, 201x260mm]. Close view of fountain slab, with carved panels and decorative borders. Close view of fountain slab, with relief carvings and inscriptions. Close view of fountain slab carved in shallow relief. Close view of fountain slab decorated with shallow relief carving. Close view of fountain slab with relief carving. Close view of four columns, also seen in print 1739. An almost identical print to, and taken on the same occasion as Photo 1000 (1904). Close view of four columns, also seen in print 1739. An almost identical print to, and taken on the same occasion as Photo 1000 (1904). Close view of free-standing pillar beside the mosque (see also print 151) Close view of fresco, partly demaged owing to detached plaster.[Albumen print, 202x141mm]. Close view of fresco (damaged). (I.A. Map 28, C3). Close view of frescoes in cave shrine. (I.A. Map 17, A1). Close view of frieze. Close view of frieze of birds and flowers. Close view of frieze of elephants. Close view of full-length standing figure. Close view of gallery with bands of calligraphic designs below. Close view of Gandharan sculpture fragment. Faded print. Close view of garden entrance to Consulate, from right.[103x78mm]. Close view of garden entrance to Consulate, head-on.[78x100mm]. Close view of gateway, from side. Albumen print duplicate at Photo 1000 (1267), showing more of the top of the gateway.[Carbon print ('Autotype'), 285x189mm]. Close view of gateway, showing sculptured nagas and other figures. Photographed by Cousens' assistants. Close view of gateway, with measuring scales. Albumen print duplicate at Photo 1000 (1268).[Carbon print ('Autotype'), 253x193mm]. Close view of gateway.[Gelatin silver print, 238x284mm]. Close view of gateway. Close view of gateway. Close view of gateway. Close view of gateway. Close view of gateway. Close view of gateway. Close view of gateway. Close view of gateway and tower, with naga sculpture in left foreground.[Albumen print, 224x167mm]. Close view of gateway in the Surya Temple. Close view of gateway in wall. Close view of gateway with decorative carved pediment. Duplicate at Photo 1008/9 (2651). Another copy at Photo 3/1 (48).[153x202mm]. Close view of gateway with segmental pediment with relief carving of foliate patterns, with wooden double doorway beneath. Similar in design to gateway in print 2648. Duplicate at Photo 3/2 (121). Close view of gopura, showing sculptural detail.[?Matte collodion printing-out paper, 288x200mm]. Close view of gopura, showing sculptural detail. Close view of gopura. Close view of gopura base showing damage to masonry from subsidence. Close view of grave and tiwaz. Close view of gravestone, partially collapsed into vault beneath. Close view of ground floor balcony window. Close view of group of jataka plaques affixed to base of stupa. For an account of the jataka plaques found at the stupa, see Taw Sein Ko, The plaques found at the Petleik Pagoda, Pagan (ASI Annual Report 1906-7, (Calcutta, 1909), pp. 128-136). Close view of group of jataka plaques affixed to base of stupa. Close view of group of stone tombs: 'On the extreme north of the outer enclosure is a garden and a small pallippadai or grave-yard containing about thirty little tombs of saints or samnyasins, whose bodies are not cremated but buried in a sitting posture, a stone pedestal, about 4 feet in height, is erected over the place of burial and a tulsi plant is grown in a square cavity in the uppermost stone of the pedestal' (Alexander Rea, Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1920-1921 (Madras, 1921), pp. 22-25). Close view of guardian lion at entrance to temple. Close view of guardstone. Precise location unidentified.[Gelatin silver print, 89x114mm]. Close view of head (damaged). Faded print. Close view of heavy wooden pillar with carved capital. Close view of house. This is incorrectly labelled as the left-hand section of the panoramic view, with print 279. This is in fact taken from closer to the building and does not therefore join up cleanly with that print. Close view of image. Close view of image. Close view of image of seated Jain tirthankara in shrine. Close view of inlaid stone work. Close view of inner face of pillar, showing medallion carvings.[Gelatin silver print, 150x201mm]. Close view of inscribed face. Close view of inscribed fountain slab, with carved decoration. Close view of inscribed headstone in the tomb of Jahanara Begam. Close view of inscribed slab. Close view of inscribed stones. Close view of inscribed tombstone in the tomb.[Gelatin silver print, 107x162mm]. Close view of inscription, much pitted and worn. Close view of inscription. Close view of inscription. Close view of inscription. Close view of inscription. Close view of inscription. Close view of inscription. Close view of inscription. Close view of inscription. Close view of inscription. Close view of inscription above archway. Close view of inscription above central arch. Close view of inscription above central arch. Close view of inscription above doorway. Close view of inscription above entrance arch. Close view of inscription at base of pillar. Close view of inscription over central arch. Close view of inscription over central arch of east face. Close view of inscription over doorway. Close view of inscription over south arch. Close view of interior of arched bay of Baz Bahadur's Palace. Close view of intricately carved panel. Close view of intricately carved section of door. Close view of intricately-carved wooden doorway and surrounds. Close view of italian pietra dura mosaic. Close view of jali work screen. Close view of jali work windows and pietra dura surrounds on exterior of mausoleum of Itimad-ud-daulah. Inscribed in pencil on reverse: '239. The Mausoleum. Marble copula [sic]'. The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'W. Baker' 239' in the negative, 212x159mm]. Close view of jataka plaque. Close view of junction of wooden pitched roof and brick shikara. Close view of Krishna Mandapa. Close view of lamp, photographed from above. Close view of lamp-column in front of the temple. Close view of lamp in metal filigree. Close view of lamp stand in the court infront of the iwan, near the old pulpit. Close view of left half of lintel above doorway. Close view of left-hand guardian figure at entrance to rock-cut temple Close view of left-hand section of lintel seen in print 308. Close view of lighthouse.[Albumen print, 211x155mm]. Close view of lighthouse (different angle from print 64).[Albumen print, 157x210mm]. Close view of linga and yoni. Close view of lintel, with panel of relief carving. Close view of lintel carved with Krishna birth scene.[Gelatin silver print, 200x150mm]. Close view of lintel showing carved detail. Close view of lintel with relief carving. Close view of lion capital from Sanchi.[Gelatin silver print, 224x288mm]. Close view of lion carved in relief on temple balustrade.[Gelatin silver print, 80x55mm]. Close view of lion forming pilaster base. Close view of long building, with steeply pitched, hipped stone roof. Close view of lotus decoration between columns. Close view of lower fa�ade of shrine. The elevation is embellished with pilasters, with inscriptions on the wall between. Close view of lower half of column, showing inscription. Close view of lower half of temple.Duplicate of Photo 1002 (19). Close view of lower portion, showing carved detail and mouldings. Close view of lower portion of gopura of the Chintala Venkataramana Temple, showing the gateway. Close view of lower portion of massive wooden gateway. Close view of lower section of dagaba, showing row of pilasters around drum.[Sepia toned print, 138x178mm]. Close view of lower wall of Nirvana Stupa. Close view of main entrance. Print in poorish condition, with overall spotting.[Albumen print, 371x309mm]. Close view of main entrance and central portion of fa�ade.[Albumen print, 377x303mm]. Close view of main tomb. Close view of mandapa, seen here in use as a store for hay. Close view of mandapa. Close view of marble water cascade or chadar. Close view of Marochetti's sculpture of an angel above the Memorial Well, with part of the enclosing gothic screen visible in the background.[Albumen print, 233x284mm]. Close view of massive carved doorway. See note at print 199. Close view of massive monolithic lintel, showing carved relief panels. Close view of massive walls. Ancient Persis, fig. 7: 'Wall at back of domed hall, Qal'a-i-Dukhtar, Tang-ab, seen from east.' (Ancient Persis Map, A3). Close view of medallion, of similar deign to that seen in print 42. Close view of medallion carved in relief. Faded print. Close view of medallion carved in relief with image of elephant floating above the sleeping body of Maya. Close view of medallion carved with abstract designs. Close view of medallion carved with human face set within a floral design. Close view of medallion with relief carving. Faded print. Close view of middle section of lintel seen in print 308. Close view of mihrab, showing ornate carved geometric and calligraphic decoration. 'On the western wall are four prayer niches of black polished stone, round which are inscribed passages from the Qoran, delicately carved in Arabic character...'[Woodburytype, 190x230mm]. Close view of mihrab. Close view of mihrab (prayer niche). Close view of mihrab (prayer niche). Close view of mihrab (prayer niche). Close view of mihrab (prayer niche) inside the mosque. Close view of mihrab (prayer niche) with carved surrounds. Close view of mihrab or prayer niche in the mosque of the tomb. Close view of mihrab or prayer niche in the mosque of the tomb. Close view of mihrab or wall niche indicating the direction of Mecca. A small portion of the pulpit (minbar) can be seen at the right. Close view of minar bases, showing sculptural detail, and central arch. Close view of miniature stupa carved with Buddha images and other designs. Close view of miscellaneous carved stones.[Gelatin silver print, 202x153mm]. Close view of modern buttress on wall of garden. Close view of modern pier, with background blocked out in negative. This is possibly a pillar used in the restoration and rebuilding of parts of the Mahalingeshvara Temple which is mentioned in the annual report for 1911-1912.. Close view of modern sandstone seat in the garden of Humayun's Tomb. Close view of moon stone on the north side of the temple platform.[Gelatin silver print]. Close view of mosaic work of interior. Close view of Nagbal Temple, largely overgrown with trees and other vegetation. Albumen print duplicate at Photo 1000 (1245).[Carbon print ('Autotype'), 260x193mm]. Close view of niche. (Ancient Persis Map B2). Close view of niche. Close view of niche in the tomb, showing decorative carved work. Close view of niche with (damaged) figure of Ganesha. Close view of niche with amorous couple. Poor quality print.[?Matte collodion printing-out paper, 146x187mm]. Close view of niche with amorous couple. Poor quality print.[?Matte collodion printing-out paper, 148x191mm]. Close view of niche with amorous couple. Poor quality print.[?Matte collodion printing-out paper, 148x195mm]. Close view of niche with amorous couple. Poor quality print.[?Matte collodion printing-out paper, 149x191mm]. Close view of niche with amorous couple. Poor quality print.[?Matte collodion printing-out paper, 152x190mm]. Close view of niche with carved figure of elephant. Close view of niche with relief carving in the form of a stylised tree. Close view of niche with relief carving of vegetable forms. Close view of niche with relief image of Jain tirthankara. Close view of niche with sculptural detail in vegetable form. Close view of niche with sculpture. Duplicate at Photo 1000 (1256).[Carbon print ('Autotype'), 175x217mm]. Close view of north gateway. Close view of old carved pillar (detached from building). Close view of one face of the fountain, showing intricately carved stonework decoration surrounding the spout.[Albumen print, 309x380mm]. Close view of one of the apsara figures.[Albumen print, 204x138mm]. Close view of one of the arched entrances to the mosque, showing carved decoration. See note at print 21.[Woodburytype, 235x184mm]. Close view of one of the cannons outside Government House, Calcutta. The accompanying notes by Lord Curzon give the following description: 'Inscription 'Seringapatam 4th May 1799. Two brass cannons, muzzle a tiger's head. Mounted on wooden gun carriage. At the end of the spokes of each wheel are brass tigers' paws. The hubs of the wheels are tiger's heads in brass, same as muzzle'. Photograph uncredited, but probably by Johnston & Hoffmann.[Silver printing-out paper, 290x208mm]. Close view of one of the carved Hindu columns used in the mosque. Close view of one of the domes, photographed from the roof. Close view of one of the drinking fountains.[Albumen print, 387x308mm]. Close view of one of the elephants also seen in print 349. Close view of one of the pyramidal towers over the sanctuary in the Keshava Temple at Somnathpuram, showing the richly-carved decoration. Close view of one of the sculptured panels which form the base of the Egyptian obelisk brought to Constantinople by the Emperor Constantine.[Albumen print, 203x259mm]. Close view of one of the shrines, showing the richly carved fa�ade. Close view of one of the shrines. The roof is partially collapsed and there is a massive split down the centre of the nearer wall. Close view of one of the shrines of the Keshava Temple. Close view of one of the stupas: see note at print 2307. Close view of one of the temple towers, showing two of the four faces, one carved on each fa�ade.*Extra print, not included in original published version.[Albumen print, 91x98mm]. Close view of one of the tiered pyramidal roof towers of the palace. Close view of one of the triple-shrined Shiva temples on Hemakuta Hill. Duplicate (later printing) of Photo 1000 (3154). Another copy at Photo 212/7 (16). Close view of open-sided mandapa. Duplicate at ASS (196). Close view of open-sided mandapa. Duplicate at Photo 1008/1 (196). Close view of open-sided mandapa. Close view of open-sided mandapa. Close view of ornately carved brackets on pillar capital. Close view of ornately carved pillars. Close view of ornately-carved wooden canopy. Close view of ornately decorated doorway. Close view of ornately sculptured doorway, with reclining Vishnu image on lintel. Close view of outer face of pillars, showing carved medallions.[Gelatin silver print, 150x203mm]. Close view of paired columns in an arcade in the tomb. Close view of palace apartments at summit of hill. Duplicate at Photo 3/2 (64). Close view of palace gateway.[Albumen print, 322x261mm]. Close view of panel, containing several receding carved planes. Close view of panel, showing the dead Buddha surrounded by mourners. Close view of panel carved with religious scenes. Close view of panel carved with religious scenes (of Buddha?). Presumably installed after the temple was converted to Buddhist use in the 16th century. Close view of panel of relief carving on east gateway.[Gelatin silver print, 120x177mm]. Close view of panels carved with arabesques and geometrical designs. Close view of panels carved with geometric designs. Close view of panels carved with religious scenes. Close view of panels of tilework in a chamber of the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 199x256mm]. Close view of panel with figures. Close view of panel with sculptured image of Surya. Close view of panel with Shiva image. Close view of panle with repeated geometric design. Close view of partially-collapsed brick wall, awaiting repair. Close view of partially-concealed plinth. Close view of partly-buried doorway, showing bands of sculptural detail on architraves. Photo 1000 (1006) is a cropped copy of this print. Close view of part of base, showing sculptured piers.[Gelatin silver print, 138x185mm]. Close view of part of building, showing the intricate carved detail. Close view of part of ceiling. (Ancient Persis Map B1). Close view of part of fa�ade, showing sculptural decoration, with a blind window in the centre.[Gelatin silver print, 284x207mm]. Close view of part of fa�ade.[?Matte collodion printing-out paper, 285x196mm]. Close view of part of Fort Onslow. Print marked 'Confidential' in the negative. Another copy at Photo 98 (39). Close view of part of fresco. (I.A. Map 28, C3). Close view of part of gallery, showing sculptural detail.[Gelatin silver print, 295x207mm]. Close view of part of monastery building. Close view of part of site, showing upright pillars. Close view of part of the base of the stupa. Close view of part of the facade of Itimad-ud-Daulah's Tomb, showing pietra dura work and marble lattice work openings.[Developing-out paper, 295x246mm]. Close view of part of the Potala roofline, showing ornamental decorations and finials. Close view of part of the roofline. Close view of part of the tomb, showing marble lattice work and curved struts supporting the deep eaves. A somewhat faded print. Close view of pavilion on upper floor, showing intricate stone carving. Close view of pedimented niche with sculpture (pediment damaged). Albumen print duplicate at Photo 1000 (1275).[Carbon print ('Autotype'), 144x201mm]. Close view of pendentive between two arches. Close view of pierced marble screens. Slightly unsharp. Close view of pier of arch, showing cracks. Close view of pietra dura and carved marble work on the facade of the Taj.[Developing-out paper, 295x244mm]. Close view of pietra dura and marble inlay work on the wall of the outer chamber of the Mussaman Burj, with the sculptured pool on the floor in the foreground.[Developing-out paper, 293x246mm]. Close view of pilar carved in the form of a maiden, with background vlocked out in negative. This column can be seen on the right of the steps in print 2824. Close view of pilasters, showing inset carved panels. Close view of pilasters and damaged masonry fa�ade of gopura. Close view of pilasters carved with foliate forms. Close view of pillar, showing carved detail. Close view of pillar, with medallion carved in relief. Faded print. Close view of pillar. Close view of pillar (adjacent to the pillar in print 241) and lintel. Close view of pillar and bricked-up archway. Close view of pillar and bricked-up archway. Close view of pillar and side of entrance arch. (Ancient Persis Map B2). Close view of pillared doorway and fa�ade. Close view of pillars. Close view of pillars at corner of the outer colonnade of the tomb. Close view of pillars carved with medallion motifs.[Gelatin silver print, 149x204mm]. Close view of pillars decorated with pietra dura work in the Diwan-i-Khas. Close view of pillar showing carving and inscription. Close view of pillar with carved figure. Close view of pillar with lower half carved in the form of a lion. Close view of plain square columns supporting barrel-vaulted roof. Close view of platform wall. Close view of porch. Close view of porch and balcony above. Precise location unspecified. Close view of porch and doorway. Close view of portion of arch, showing decorative carved work.[Gelatin silver print, 153x201mm]. Close view of portion of base of temple. A rather dark print.[Gelatin silver print, 195x292mm]. Close view of portion of carved frieze. Duplicate of Photo 1008/11 (132B).[202x153mm]. Close view of portion of excavated monastery. Close view of portion of excavated stupa base. Close view of portion of fa�ade, showing banded friezes of carved work, with pierced stone windows and lathe-turned columns above. Close view of portion of fa�ade, showing details of mouldings. Close view of portion of fa�ade, showing sculptural detail. Close view of portion of fa�ade.[Gelatin silver print, 201x150mm]. Close view of portion of fa�ade.[Gelatin silver print, 204x150mm]. Close view of portion of fa�ade. Close view of portion of fa�ade. Close view of portion of fa�ade. Close view of portion of gopura, showing sculptural detail.[?Matte collodion printing-out paper, 293x214mm]. Close view of portion of inscription. Close view of portion of interior (?showing entrances to individual cells). Close view of portion of rock-cut sculpture, showing cat rearing on hind legs, surrounded by rats. Duplicate of Photo 1008/10 (428D).[153x203mm]. Close view of portion of ruined interior. Close view of portion of the fa�ade seen in print 16. Close view of portion of undecorated brick fa�ade. Close view of portion of undecorated brick fa�ade (west wall?). Close view of portion of wall. Close view of portion of wall in interior. Close view of prayer niche, in partly-ruined condition. Close view of prayer niche. Poor quality print. Close view of prayer niche. Close view of prayer niche showing elaborate carved detail. Close view of prayer niche with carved decorations. Close view of pyramidal sanctuary tower. Close view of railing pillars, showing carved detail. Close view of railings, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (56). Close view of railings, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (57). Close view of railings, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (58). Close view of railings, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1.Duplicate of Photo 1002 (59). Close view of railings, with sculptured discs. Credited to Beglar in Bloch's list, but probably photographed by Garrick during his visit of 1880-1. The railings are described in Alexander Cunningham and H.B.W. Garrick, Report of tours in North and South Bihar, in 1880-81 (A.S.I. vol. XVI, Calcutta, 1883), pp.134-135. In the preface, Cunningham specifically states: 'Mr Garrick next visited Buddha Gaya for the purpose of seeing the work in progress, and of photographing the sculptures and inscriptions which had been exhumed, as well as various scenes on the pillars of the old Buddhist railing.' (p. ix).Duplicate of Photo 1002 (55). Close view of railing sculpture. Close view of rear of shikara, showing exposed inner filling. See note at print 2454. Close view of rectangular panel, containing a circular sculptured design formed by figures radiating out from the centre. Close view of rectangular panel, with carved patterns. Close view of rectangular panel, with twelve medallion shaped carvings. Close view of rectangular panel with sculptures. Close view of rectangular sculpture panel, with carved figures. Close view of rectangular sculpture panel. The panel is divided into bands, which are filled with intricate carvings of humans and animals in procession. Prints 1952-1955 show similar scenes. Close view of relief carving inside the naula or covered spring. Close view of relief carving of elephant in the council chamber known as the Elephant Pavilion on account of the carved panels.[Gelatin silver print, 80x55mm]. Close view of relief carvings on window pilasters. Close view of relief of elephant on the frieze running round the capital. Close view of relief panel. Close view of relief panel. Close view of relief sculpture of a rearing lion at the base of the wall.[Gelatin silver print, 177x223mm]. Close view of relief sculpture of figure seated on elephant on the Terrace of the Leper King.[Albumen print, 238x184mm]. Close view of relief sculptures in panels on exterior wall of the temple. Close view of relief sculpture to left of entrance porch. Close view of remains of base.[Gelatin silver print, 203x152mm]. Close view of remains of building, showing timber foundations and struts. With figure standing among the ruins to indicate scale. Innermost Asia, vol. 1, fig. 97: 'North-western portion of ruined residence, N. III, Niya site, before final excavation.' (I.A. Map 19, B1). Close view of remains of square base of brick stupa. Close view of repeating frieze of deers' heads. Close view of restored brick wall of stupa base. Close view of richly-carved architraves and door surrounds. Close view of richly carved column. Close view of richly carved columns in the building known as Birbal's House.[Albumen print]. Close view of richly carved columns of ther mandapa. Close view of richly-carved doorway, looking into the shrine beyond. Close view of richly-carved doorway, with shrine beyond. Close view of richly-carved granite piers and brackets in the mandapa of the Vitthala Temple. Duplicate (later printing) of Photo 1000 (3160). Another copy at Photo 212/7 (22). Close view of richly-carved pillar, showing sculptural details. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1274). Close view of richly-carved pillar, showing sculptural details. Close view of richly carved wooden double doors. Close view of right-hand section of lintel seen in print 308. Close view of row of arched windows above gateway. Close view of row of slender columns at base of dagaba.[Gelatin silver print, 55x80mm]. Close view of ruined gateway. Close view of ruined wall and doorway, seen in the background of print 6. Close view of ruins. Close view of sanctuary tower. Close view of screen of carved pillars in the form of rearing yalis. Close view of sculptural decoration. Close view of sculptural detail.[?Matte collodion printing-out paper, 278x203mm]. Close view of sculptural detail.[Gelatin silver print, 140x191mm]. Close view of sculptural detail.[Gelatin silver print, 148x195mm]. Close view of sculptural detail.[Gelatin silver print, 150x204mm]. Close view of sculptural detail.[Gelatin silver print, 196x284mm]. Close view of sculptural detail.[Gelatin silver print, 294x200mm]. Close view of sculptural detail. A smaller view of the same subject as print 11, taken on a glass negative in order to capture sculptural detail. Close view of sculptural detail. A smaller view of the same subject as print 15, taken on a glass negative in order to capture sculptural detail. Close view of sculptural detail. A smaller view of the same subject as print 18, taken on a glass negative in order to capture sculptural detail. Close view of sculptural detail. Figure of Krishna playing his flute. Close view of sculptural detail. Close view of sculptural detail. Close view of sculptural detail. Close view of sculptural detail. Close view of sculptural detail. Close view of sculptural detail. Close view of sculptural detail. Close view of sculptural detail. Close view of sculptural detail and mouldings at base of wall. Close view of sculptural detail around doorway. Close view of sculptural detail at angle of dome. Close view of sculptural detail at angle of sculpture panel. Close view of sculptural detail at base of fa�ade of shrine. Close view of sculptural detail at base of gopura. Close view of sculptural detail at base of gopura of Ramalingeshvara temple. Duplicate (later printing) of Photo 1000 (3170). Another copy at Photo 212/7 (32). Close view of sculptural detail of fa�ade. Close view of sculptural detail of Ganesha on pillar of the Raja Sabha, the mandapa in the north-east corner of the temple complex. Close view of sculptural detail of minaret. Close view of sculptural detail of panels on base. Close view of sculptural detail of piers.[Gelatin silver print, 158x205mm]. Close view of sculptural detail of the Brahmeshvara Temple.[Gelatin silver print, 299x198mm]. Close view of sculptural detail on fa�ade of mandapa. Close view of sculptural detail on gopura.[?Matte collodion printing-out paper, 220x304mm]. Close view of sculptural detail on parapet. Close view of sculptural detail on temple fa�ade. Close view of sculptural detail on temple gopura.[?Matte collodion printing-out paper, 286x196mm]. Close view of sculptural detail on the temple fa�ade, with finely carved pilasters and figures. Albumen print, 359 x 299 mm. Close view of sculptural detail showing scene with elephants. Close view of sculptural frieze. Close view of sculptural friezes on the Dhamekh Stupa at Sarnath. Close view of sculptural panels on fa�ade.[Gelatin silver print, 139x184mm]. Close view of sculpture, much worn. Close view of sculpture, seen by Cousens standing under a tree near the pavilion seen in print 2264, and 'entirely uncared for'. Close view of sculpture, with upper halves of two figures beneath naga hood. Faded print. Close view of sculpture; upper protion damaged and lacking face and arms. Faded print. Close view of sculpture: 'Over the entrance to the shrine had been been built in a beautifully carved lintel upon which is presented the bust of Siva, with Nandi below, flanked by Naga figures, whose tails knot and intertwine in a bold and effective piece of arabesque...I wrote to the commissioner of Raipur proposing that these should be removed from the building in which they are and be taken to the Raipur Museum for safety, and have just heard that they have been so transferred.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', pp. 26-27). Close view of sculpture. An indistinct, faded image. Close view of sculpture. A note records that the piece probably came from 'a temple in Kanara, on the Malabar coast, or from the West Carnatic, known as the Southern Mahratta country.'[?Matte collodion printing-out paper, 104x148mm]. Close view of sculpture. Faded print. Close view of sculpture. Faded print. Close view of sculpture. Faded print. Close view of sculpture. Close view of sculpture. Close view of sculpture. Close view of sculpture. Close view of sculpture. Close view of sculpture. Close view of sculpture. Close view of sculpture. The portion above the waist is missing. Close view of sculpture at base of doorway. Close view of sculpture at base of the cylindrical brick Hindu shrine after excavation. '...a brick cylindrical tower, adorned round its base with figures of serpent-deities, Ganesa, Siva, and a garlanded linga, but without an entrance of any kind to give access to the interior. This tower dates back apparently to the fourth or fifth century, and we may surmise that it was connected with serpent worship, but what the precise purpose was, for which it was built, is impossible to say; it is certainly unique of its kind in India' (J.H. Marshall, 'Annual Report of the Director-General of Archaeology for the year 1905-06'. Part I. - Administrative (Calcutta, 1907), p. 3). Close view of sculpture band on temple facade. Close view of sculptured architectural fragment: 'A curious sculptured figure in black hornblende, bearing somewhat the appearance of a Hindu god, lies apart from any ruin to which it could possibly have belonged.'[Woodburytype, 168x102mm]. Close view of sculptured architrave. Close view of sculptured capital. See note at print 2498. Close view of sculptured column. Faded print. Close view of sculptured column. Print cropped to a long, narrow format. Close view of sculptured column. Close view of sculptured columns in the Panch Mahal.[Albumen print]. Close view of sculptured doorway. Close view of sculptured doorway. Close view of sculptured doorway. Close view of sculptured doorway and interior of shrine, looking towards Vamana image. Close view of sculpture decoration. Close view of sculptured figure, damaged. Close view of sculptured figure. 'Outside in front of the temple stand two splendid life-sized statues of dvarapalas, or possibly chiefs, with elaborate and voluminous curly wigs in four rows of horizontal curls, the lowest resting on the shoulder. These are similar to that at the Rama temple at Sirpur and on the tank at Arang. They have lotus halos around the head.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 26). Close view of sculptured figure on inner surface of doorway. Close view of sculptured figures, 'richly carved in the very best style' (Cousens). Close view of sculptured figures.[Albumen print, 289x220mm]. Close view of sculptured figures of dancers on projecting buttress of west wall. For a more general view of this section, see Photo 959 (28).[Albumen print, 287x210mm]. Close view of sculptured head. Close view of sculptured image of a haloed goddess within the shrine. Close view of sculptured image of Shiva. Faded print. Close view of sculptured panel, with seated Buddha within niche, surrounded by representation of the visit of Indra. Close view of sculptured panel. Faded print. Close view of sculptured panels in ceiling. Close view of sculptured pillar, with background blocked out in negative. With attendants pouring unguents over the head of Rama (Vishnu). Close view of sculptured pillar. Print lacking detail in highlights. Close view of sculptured pillar. Close view of sculptured pillar. Close view of sculptured pillar pillar. Reproduced as woodcut in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), fig.. 17, p. 39. Photo 1000/8 (905) is a platinum print from the same negative. Close view of sculptured pillars of the temple mandapa. Close view of sculptured slab. See 'Journal of the Asiatic Society of Bengal', vol. XXXV, part I, 1866, p. 192. Close view of sculptured slab with figure carved in relief, much damaged. Close view of sculptured slab with figure carved in relief. Close view of sculpture fragment, with stencilled number P.18. Faded print. Close view of sculpture fragment. Close view of sculpture fragment. Close view of sculpture fragment (damaged). Close view of sculpture fragment showing youth riding a lion, its tail held in his left hand. Faded print. Close view of sculpture in front of temple: 'A very interesting image is one of the skeleton goddess Mahakali, which is lying at the old ruined temple of Chandika Devi, and which is represented with three heas. I do not remember to have seen it before.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1905', p. 38). Close view of sculpture in niche. Duplicate at Photo 1008/1 (188). Close view of sculpture in temple. Close view of sculpture in temple. Close view of sculpture in temple interior: 'The temple, in plan and general arrangement, is trikingly like the small Buddhist temple to the south-east of the great stupa at Sanchi...The likeness is so great that I am inclined to think that we have here a genuine Buddhist temple subsequently converted into a Hindu shrine. One of the sculptures (Photo No. 2261), set up on edge on the north side of the porch, seems clearly to be an image of a Bodhisattva...But this sculpture is very much later than the temple itself.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 34). Close view of sculpture niche in temple fa�ade. Close view of sculpture of amorous couple.[?Matte collodion printing-out paper, 160x200mm]. Close view of sculpture of female figure.[?Matte collodion printing-out paper, 139x209mm]. Close view of sculpture of figure. Close view of sculpture of head, a fragment from a larger piece. Close view of sculpture of head enclosed in oval cartouche. Close view of sculpture of seated figure, with inscription beneath. Faded print. Close view of sculpture of seated Nagaraja figure. Photograph credited to Henry Cousens, but probably more likely to have been taken by James Burgess, to whom it is credited in the lithographed version reproduced in James Fergusson and James Burgesss, 'The Cave Temples of India' (London, 1880), plate 39. Close view of sculpture of Shiva and Parvati, set into exterior wall of temple (see note at print 2236). Close view of sculpture of Shiva seated on a lotus throne. Close view of sculpture of the Hoysala king slaying the lion on the temple tower. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl. cxii (a), and described p. 104: '...the old temple...appears to have once been within the limits of the Hoysala territories. This is, perhaps, the reason why we find that curious group of sculpture - the Hoysala king slaying the lion -, placed upon the front of the tower...The temple consists of three shrines around a common hall, with another open hall (now closed up with mud walls) in advance of the last. The tower bearing the Hoysala sculpture is the middle or western one; the northern tower has gone, and the front of the southern one has been demolished. Apart from the sculpture, there is nothing of any special interest about the temple...' The building is incorrectly identified in Bloch's list as the Kedareshvara Temple at Balagamve. Close view of sculpture of the Hoysala king slaying the lion on the temple tower. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl. cxii (a), and described p. 104: '...the old temple...appears to have once been within the limits of the Hoysala territories. This is, perhaps, the reason why we find that curious group of sculpture - the Hoysala king slaying the lion -, placed upon the front of the tower...The temple consists of three shrines around a common hall, with another open hall (now closed up with mud walls) in advance of the last. The tower bearing the Hoysala sculpture is the middle or western one; the northern tower has gone, and the front of the southern one has been demolished. Apart from the sculpture, there is nothing of any special interest about the temple...' The building is incorrectly identified in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) as the Kedareshvara Temple at Balagamve. Close view of sculpture of Vishnu and penitent naga king. Close view of sculpture of wheel. Close view of sculpture on facade. Close view of sculpture on fa�ade. For another copy of this print (also captioned as the south side), see Photo 1000 (2322).[Albumen print, 296x240mm]. Close view of sculpture on temple facade. Close view of sculpture on temple fa�ade. Close view of sculpture on the lower stories of the vimana of the Brihadishvara Temple. Close view of sculpture panel, with figures and flower designs. Close view of sculpture panel, with figures of man and two women. Close view of sculpture panel, with figures of man and wife. Close view of sculpture panel, with seated image of Brahma on the west face of the temple. The sculpture has been demegaed and lacks the outward looking face. Close view of sculpture panel. Duplicate of Photo 1008/10 (420D).[201x152mm]. Close view of sculpture panel. Faded print. Close view of sculpture panel. Close view of sculpture panel. Close view of sculpture panel. Close view of sculpture panel. Close view of sculpture panel. Close view of sculpture panel (figures mounted on elephant and bull). Close view of sculpture panel (Shiva and Parvati) on column. Close view of sculpture panel (Vishnu on Garuda). Close view of sculpture panel above the lintel of the brick doorway. Close view of sculpture panel framed with decorated pilasters.[Albumen print]. Close view of sculpture panel of Brahma. Faded print. Close view of sculpture panel of Ganesha on south wall. Close view of sculpture panel of Krishna playing his flute. Close view of sculpture panel of Narayana (Vishnu). Close view of sculpture panel on temple exterior. Close view of sculpture panel on temple fa�ade. Close view of sculpture panels. Faded print. Close view of sculpture panels at base of south wall of temple sanctuary. Close view of sculpture panel showing the dead Buddha with attendants. Faded print. Close view of sculpture panel with figures. Close view of sculpture panel with image of Hanuman on column. Close view of sculpture piece. Close view of sculpture piece. Close view of sculpture piece. Close view of sculptures along the base of the fa�ade. Photo 1000 (1053) is a slightly reduced and cropped version of this print. Close view of sculptures in niches at base of tower. Close view of sculptures in niches at base of tower. Close view of sculpture slab, with figure carved in deep relief. Close view of sculpture slab. Close view of sculpture slab found near the pavilion seen in print 2264. Close view of sculpture slab leaning against tree: 'The great figure of Brahmadeva at the temple on the west bank of the Ramakunda [four-faced yaksha]...is an unfinished work, it being left in the rough...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 7).[Printing-out paper, 270x214mm]. Close view of sculpture slab with image of Lakshmana. Close view of sculpture slab with image of Sita. Close view of sculptures of amorous couples.[?Matte collodion printing-out paper, 202x155mm]. Close view of sculptures of Matrika and other female figures in the Hall of Sacrifice.[Silver printing-out paper, 134x76mm]. Close view of sculpture to right of doorway. Close view of scultpured architrave. Close view of scultpure in niche, with measuring scale in foreground. Duplicate at Photo 1000 (1258).[Carbon print ('Autotype'), 143x195mm]. Close view of section of base of wall, showing cracks. Close view of section of bas-relief: battle scene with chariot.*Extra print, not included in original published version.[Albumen print, 89x98mm]. Close view of section of bas-relief. 'The subject of this picture is a triumphal procession returning from battle. It would appear, from the number and position of the horses and riders, that they had disciplined cavalry in those days...The lower portion of the picture represents the beginning of the subject, where human torture is depicted in its most revolting forms...We might infer...that the contest was for the establishment of a new religion or kingdom, and that those who would not receive it were tortured in the manner represented in the bas-relief.'('Description of the Photographs', p. 63)[Albumen print, signed 'J. Thomson' in the negative, 237x184mm]. Close view of section of bas-relief.*Extra print, not included in original published version.[Albumen print, 237x183mm]. Close view of section of bas-relief.*Extra print, not included in original published version.[Albumen print, signed 'J. Thomson' in the negative, 229x183mm]. Close view of section of bas-relief.*Extra print, not included in original published version.[Albumen print, signed 'J. Thomson' in the negative, 237x184mm]. Close view of section of bas-relief.*Extra print, not included in original published version.[Albumen print, signed 'J. Thomson' in the negative, 237x184mm]. Close view of section of bas-relief. Extra print, not included in original published work.*Extra print, not included in original published version.[Albumen print, 184x229mm]. Close view of section of brick wall, with roof of temple visible beyond. Close view of section of brick wall in excavated trench. Close view of section of carved coping. Close view of section of column, shwoing carved work. Close view of section of cornice, showing sculptural detail. Close view of section of cornice, with new supporting metal beams being placed in position. A note on restoration work is included in Cousens' 'Progress Report of the Archaeological Survey of India, Western Circle, for the months July 1905 to March 1906, inclusive' p. 10. Close view of section of crenellated wall. Close view of section of decorative work on ceiling. Close view of section of drum, showing decorative stone work. Close view of section of drum slab from stupa. Close view of section of excavated brick plinth. Close view of section of excavations, tentatively identified as drains. Close view of section of fa�ade, showing sculptural detail and pilasters. Close view of section of fa�ade, showing sculptural detail to left of doorway.[?Matte collodion printing-out paper, 194x293mm]. Close view of section of finely carved pilaster. Close view of section of frieze. Duplicate of Photo 1008/11 (137B).[202x153mm]. Close view of section of gate. Close view of section of gopura, showing sculptural detail.[?Matte collodion printing-out paper, 282x197mm]. Close view of section of gopura to left of doorway, showing sculptural detail.[?Matte collodion printing-out paper, 290x217mm]. Close view of section of mandapa fa�ade, showing sculptural detail. Close view of section of marble inlay work. Close view of section of mosque wall. Close view of section of pantiled roof, in extreme disrepair. 'The Um-dez (head monk) says that this chapel is the one built by Ti-song De-tsen, but the local people think it is the first chapel, the one built by Song-tsen Gam-po.' Close view of section of post-and-lintel colonnade beside the ruined tank. Close view of section of river frontage. Close view of section of stonework on platform at base of dagaba, with courses of elephant heads and (?)serpents.[Gelatin silver print, 88x115mm]. Close view of section of wall, ashlar masonry, undecorated. Close view of section of wall, with figures posed in front. Close view of section of wall. Close view of section of wall. Close view of section of wall. Close view of section of wall. Close view of section of wall and tower, largely overgrown. Close view of section of wall covered with surface tracery, with arched doorway. At the right, a section of the decorative brickwork, can be seen to be springing away from the rubble wall behind. Close view of section of wall with arched colonnade. Close view of section of west front, showing detail of the sculptural work. For another copy of this print, see Photo 1000 (2326).[Albumen print, 355x240mm]. Close view of semi-circular moon stone at base of steps.[Gelatin silver print, faded, 80x55mm]. Close view of Shore Temple. Close view of shrine. Close view of shrine and tower. Close view of shrine doorway, showing carved surrounds. Close view of shrine inside temple. Close view of side of arch. Close view of single railing pillar, showing carved detail. Close view of Sir Gilbert Scott's memorial before its removal to St Paul's Cathedral, Calcutta. A note in Lady Bayley's hand beside the print, reads: 'This tomb suffered so severely from the climate, the inlaid work dropping out, that it was replaced by one of pure white marble made in India'. This is clearly the photograph on which the engraved illustration in Augustus J.C. Hare, 'The Story of Two Noble Lives' (vol. III, 1893, p. 168) is based.[Albumen print, 282x230mm]. Close view of skeletal figures of Kala and Kali.[Silver printing-out paper, 204x275mm]. Close view of slab, with man and woman carved in relief. Close view of slab at entrance to temple, carved with dvarapala guardian figure.[Gelatin silver print, 55x80mm]. Close view of sloping chute for water. Close view of small brick stupa, excavated and restored. Close view of small flight of steps. Close view of small nandi pavilion. Close view of small nandi pavilion. Close view of small portion of base of fa�ade, showing moulding details. Close view of small sculpture panel. Close view of small section of sculptural panel. Close view of small shrine. Close view of small stone domed shrine. Close view of small stupa, with stone 'umbrellas' in foreground. Close view of some of the remaining spans of the bridge. Close view of some of the sculpture niches seen in print 425b. Close view of south face of Shaikh Salim Chishti's Tomb.[Albumen print, 212x161mm]. Close view of south face of tomb. Close view of south wall of fort, with a figure standing at the left marking the level of the top of the mound. (Gedrosia, fig. 10). Close view of square panel, carved in receding planes. Close view of square panel, carved in relief. Photographer's wet stamp on mount, 'Lala Deen Dayal, Photographer, Indore, C.I.' Close view of square panel with sculptures. Close view of square sculpture panel, with figures. Close view of square sculpture panel. Close view of square-sectioned column. Close view of square-sectioned columns carved with pot and foliage motifs. Close view of square-sectioned pillar with carved decoration. Close view of staircase. Close view of standing Buddha image. Faded print. Close view of standing columns of gateway. Photographed by Cousens' assistants. Close view of statue.[Gelatin silver print, 140x200mm]. Close view of statue and plinth. Enlarged duplicate of print 284.[Gelatin silver print, 155x258mm]. Close view of statue of a lion at the base of the memorial.[Silver printing-out paper, 58x83mm]. Close view of steps and carved columns at entrance to mandapa. Close view of steps leading to (?)lower level of gardens. Close view of steps leading up to parapet of upper storey. Close view of steps leading up to the gateway set above the enclosure wall. Two guardstones flank the steps.[Albumen print, 282x216mm]. Close view of stone building, with armed figures seated among the ruins. Close view of stone capital lying on the ground: 'The interior of the residence of Nur Qutb Alam is in ruin, but contains several marble blocks, one of which, apparently the capital of a column, is six feet nine inches in diameter, and three feet six inches thick, weighing several tons. Broken pillars, cornices, and lintels, carved with great taste, are scattered about on all sides...'[Woodburytype, 111x141mm]. Close view of stone carving. Close view of stone disk carved in relief with scene of elephants. Duplicate of Photo 1008/11 (135B).[152x203mm]. Close view of stone slab, with inscription: 'No. 1. The face of this stone is the boundary of the Esplanade and the line is to be drawn straight to Obelisk No. 2 westerly. A.D. 1822. [blank] feet from the salient angle of Bastion No. 1.' Duplicate of Photo 1008/10 (15G). Another copy at Photo 3/2 (46).[Silver printing-out paper, 127x100mm]. Close view of stone tombstone, showing calligraphic decoration carved in relief. Azizullah Kazimi stands with one foot resting on the tombstone. (Ancient Persis Map B2). Close view of stonework. Close view of stratum (see print 109), with a man standing beside the wall to indicate scale.[Gelatin silver print, 134x83mm]. Close view of stupa, with panels carved in relief. Faded print. Close view of stupa base. Close view of stupa base (restored).. Close view of stupa image carved in relief on rock face. Close view of stupas. Stupa XXXV is presumably the nearest stupa. Close view of subterranean opening (doorway?) revealed by excavations. Close view of supporting pier, spandrel and part of vaulted ceiling, showing damage to stucco and mosaic surfaces. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 76. Close view of symbols carved in light relief at base of column. Close view of tank after excavation, from another angle. Close view of tank after excavation. Close view of tank to west of tomb. Close view of tank with central fountain in front of the Baghdad Kiosk in the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x200mm]. Close view of temple entrance.[Gelatin silver print, 282x202mm]. Close view of temple fa�ade, showing carved brickwork. Close view of temple fa�ade, showing columns and sculptural niche. Close view of temple in fort, with stambha and free-standing arch in the foreground. Signed H.D. in the negative. India Museum no. 634. Duplicate of Photo 1000 (2577). Close view of temple mandapa. Close view of the 'spire' of the Koteshvara Temple. This is in the form of an umbrella-shaped tiered roof, which overhangs and protects the wood-carved panels below. Close view of the actual tomb or qubba. The attribution to Cole is probably incorrect. Close view of the balcony of the house seen in print 1726. Close view of the balcony of the house seen in print 1726. Close view of the base of the gopura, showing sculptural detail and mouldings. Close view of the base of the richly-carved south minaret of Rani Sipri's Mosque, with the balcony window on the south elevation visible in the background. Photograph by Colin Murray for Bourne and Shepherd. Close view of the base of the statue, showing the crossed legs of the figure. North-Western Provinces list p. 116: 'A broken image of Neminatha, with a record of Samvat 1228, is lying in the courtyard of this temple; originally it came from the bank of a large lake half a mile to the north of the temple.' Close view of the base of the tower, with the part of the mandapa in the left foreground. The tower itself is considerably overgrown with vegetation. Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 199-200. Close view of the brick-built bungalow also seen in print 3126. Close view of the capital, laid on a pallet. Excavated by Cunningham and described in A. Cunningham, Report for the year 1871-72 (A.S.I. vol. III, Calcutta, 1873), p. 18. pl. iii is a lithograph clearly based on this photograph. Now in the Indian Museum, Calcutta. Close view of the capital of one of the columns of the Dalada Maligawa ('Temple of the Tooth Relic').[Albumen print, signed 'Lawton' in the negative, 151x203mm]. Close view of the carved capital; the column itself is broken off. 'Recd. from Photo Branch 31/12/74.' Duplicate of Photo 1000 (510). Close view of the carved panel on the face of the pilaster seen in print 28. Stereo half. The attribution to Johnston is tentative. Close view of the cenotaph in the upper court of the tomb. Close view of the central arch. Close view of the central arch (also seen in print 7), with the mihrab visible in the wall beyond. Close view of the central pillars of the temple fa�ade. These columns comprise two rectangular sections, with a central octagonal section. The ractangular sections are decorated with lotus flower medallions carved in relief. Close view of the central portion of the mosque, with archways walled up. Caption as it appears in Hering's catalogue of Beato's views in square brackets. [Albumen print, 251x306mm]. Close view of the central portion of the north face of the building, showing steps and entrance porch.[Gelatin silver print, 156x193mm]. Close view of the central section of the fa�ade in the course of construction.[Albumen print, 251x198mm]. Close view of the chinthes flanking the entrance to the pagoda. Close view of the chorten. Close view of the chorten (stupa) gateway. Close view of the corbelling in one of the four corners of the of one of the side chapels. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 16. Close view of the covered entrance at one end of the bridge. This is constructed from alternate courses of timber and rubble masonry. Close view of the Delhi Gate of the Fort.[Developing-out paper, 293x244mm]. Close view of the doorway and arch seen in print 593. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 2, pl. 63. Close view of the doorway and surrounding carved work. Close view of the east entrance to the temple, with Indian figures seated on the steps in the foreground. The steps leading to the entrance are flanked by miniature, pyramidal-roofed shrines. For a more general view of the east fa�ade, see print 213. For another copy of this print, see Photo 1000 (2332).[Albumen print, 361x249mm]. Close view of the elaborately sculptured doorway. Close view of the entrance gopura. Close view of the entrance seen in print 3354, showing sculptural detail on architraves. India Museum no. 848. Duplicate of Photo 1000 (1982) and (3355). Close view of the entrance steps to the Vatadage or Circular Relic House, seen from the side, with the moonstone partly visible at the left. The steps are seen in unrestored state, with the makara wing in the foreground lying on its side.[Albumen print, 285x216mm]. Close view of the entrance to the linga shrine inside the temple. Dvarapalas or guardian figures are carved on either side of the doorway. The linga and yoni pedestal can be seen inside the shrine. Close view of the entrance to the mandapa. Close view of the entrance to the mausoleum, showing decorative tilework surrounds.[Albumen print, 383x305mm]. Close view of the excavated stupa base. Close view of the finely carved guardstone also seen in print 16.[Gelatin silver print]. Close view of the finely carved wooden pulpit. (Ancient Persis Map B1). Close view of the Galata Tower.[Albumen print, signed 'Abdullah Fr�res' in the negative, 200x250mm]. Close view of the gateway.[Albumen print, 326x251mm]. Close view of the gateway overlooking the Bosphorus.[Albumen print, 257x200mm]. Close view of the Golden Gate in the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. Close view of the great free-standing pillar supporting a central dais in the audience hall.[Silver printing-out paper, 154x217mm]. Close view of the heavily ornamented river gate of the Kucuksu Palace, also known as the Goksu Palace.[Albumen print, 325x260mm]. Close view of the Iron Pillar, with the colonnade of the Quwwat-ul-Islam Mosque in the background. This is an excellent, clear view of the pillar, showing it before the masonry base was put in place after the excavations of 1871. Some of the inscriptions are also visible. Close view of the iwan, looking into the columned interior of the mosque. Close view of the iwan from the court of the mosque. Close view of the lamp column, standing on a square plinth. Close view of the largest of the two Nandis at Halebid. The second pavilion can be seen out of focus in the background. Duplicate (later printing) of Photo 1000 (3118). Another copy at Photo 212/6 (20). Close view of the left side of the south fa�ade of the Alai Darwaza, showing carved calligraphic decoration in red sandstone and white marble, and jali work windows.[Gelatin silver print, 237x288mm]. Close view of the Lion Throne in the palace.[Albumen print, 208x262mm]. Close view of the lower half of the west face of the gopura, with the south-east corner of the Viravasantaraya Mandapa in the left foreground. Albumen print, 365 x 288 mm. Close view of the lower portion of the central tower of Angkor Wat.*Extra print, not included in original published version.[Albumen print, 83x93mm]. Close view of the main entrance to the mosque, the Muvakkithane Gateway.[Albumen print, 253x325mm]. Close view of the marble chadar or water cascade. Close view of the massive central pillar in the Diwan-i-Khas.[Printing-out paper, 178x247mm]. Close view of the memorial, with inscription reading 'Erected in grateful memory of our allies the noble sons of Nepal 1914-1918'.[Gelatin silver print, 288x228mm]. Close view of the memorial to the two men, killed by Abors in 1911.[Silver printing-out paper, 103x156mm]. Close view of the minaret. Agra Fort can be seen in the distance. Photographer listed as 'unknown', but possibly by Caney. Close view of the moonstone at the entrance to the Abhayagiri Monastery. The original caption (as given above) has been struck through in pencil and the following note appended: 'In this magnificent sample of the moonstone it will be seen the lions are twice missing in the sequence, and the anim. are irrgularly placed in the latter half.' [Albumen print, signed 'Lawton' in the negative, 282x216mm]. Close view of the mosque, showing entrance and dome in foreground. Close view of the Nagbal Temple, overgrown with trees and other vegetation.[Carbon print ('Autotype'), 258x192mm]. Close view of the octagonal domed shrine. A dark print.[73x100mm]. Close view of the octagonal dome of the Vattuvan Kovil rock-cut temple. Close view of the octagonal fountain.[Albumen print, 327x262mm]. Close view of the octagonal stone ablution fountain in the courtyard of the Yeni Valide Mosque.[Albumen print, 295x375mm]. Close view of the ornately decorated temple.[Gelatin silver print, 283x220mm]. Close view of the partly ruined south-east gate of the Bala Hissar. Duplicate (in better condition) at Photo 197 (23). Close view of the pavilion from the south, with the tomb partly visible beyond. India Museum no. 513(b). Duplicate of Photo 1000 (2407). Close view of the pillar capitals, carved in the form of half-human, half-animal figures. Faded print. Close view of the pillars of an unidentified tomb in the Dutch cemetery at Surat. Close view of the relief carving on the rock face at the back of the pool, representing a five-headed cobra rising from the water.[Gelatin silver print, 89x114mm]. Close view of the Residency. Close view of the reverse face of the stone seen in print 65. This side is carved with calligraphy.[Gelatin silver print, 201x146mm]. Close view of the richly-carved kalyana mandapa in the south-west corner of the temple complex. The mandapa consists of four square columns raised on a platform decorated with friezes. Close view of the richly- carved wooden building.[Printing-out paper, 75x101mm]. Close view of the ruined bridge and pavilion seen in print 8.[Albumen print, 273x184mm]. Close view of the ruins of one of the Satgarha Temples at Katas. Close view of the sculpture also seen in print 15, but showing more of the double pediment surmounting the carving. Duplicate at Photo 1000 (1257).[Carbon print ('Autotype'), 102x165mm]. Close view of the sculpture also seen in print 2281. Close view of the sculpture also seen in print 2281. Close view of the shrine also seen in print 155; partially obscured by trees. Poor quality print.[75x98mm]. Close view of the side, showing carved detail and mouldings. Close view of the slab marking the Tomb of Omar Khayyam, situated in the left wing of Muhammad Mahruk's Tomb (see print 124).[73x103mm]. Close view of the small Buddha image on the side of the stupa seen in print 79. Close view of the small mosque. Close view of the spiral minar of the great mosque. Close view of the statue and base.[Gelatin silver print, 142x194mm]. Close view of the steps which lead into the tank in three tiers. See also print 1.[Albumen print, signed 'Lawton' in the negative, 282x216mm]. Close view of the stone shashana seen on the left in print 244a, leaning against the entrance to the temple. The headstone-shaped slab is divided in four panels carved in relief with battle scenes and religious subjects. The division beneath the uppermost panels has a carved inscription. The base has the chalked reference 'No. 14' and the photographer's initials 'H.D.' For another copy of this photograph, see Photo 1000 (48).[Albumen print, 102x260mm]. Close view of the stone shashana seen propped against the entrance to the temple in print 244a. The slab is carved with designs similar to print 244b, but with more extensive inscriptions between the panels.[Albumen print, 87x254mm]. Close view of the Sule Pagoda from Fytche Square. Close view of the Taj. Small faded print. Close view of the temple car or ratha, carved out of granite in the form of a miniature shrine, seen also in print 3157. Duplicate (later printing) of Photo 1000 (3162). Another copy at Photo 212/7 (24). Close view of the tilework mihrab (prayer niche).[Albumen print, 302x369mm]. Close view of the tomb, with the River Hugli in the background. This print shows the original grave before its removal to St Paul's Cathedral, Calcutta. The marble replacement can be seen in print 8.[Silver printing-out paper, made c. 1900, 208x160mm]. Close view of the tomb, with verandah shaded by patterned hangings. Close view of the tomb designed by Sir Gilbert Scott, with the River Hugli in the background. Note in Lady Bayley's hand on facing page reads: 'This beautiful tombstone was executed by Sir Gilbert Scott from a design drawn by Lady Waterford. It was of white marble inlaid with coloured marbles, a beautiful work of art. But the Italian marbles could not stand the excessive damp of the Calcutta climate and though several [?]defences were resorted to for protection, it was found impossible to keep the tombstone in order, so it was moved into a transept of the Cathedral in Calcutta as a monument to Lady Canning's memory, and a new tombstone, exact as a copy of it, executed in pure white Indian marble was erected over the grave, at the sole expense of Lord Northbrook, when Viceroy of India. '[Albumen print, oval vignetted image, 195x142mm]. Close view of the tomb of Sultan Abdullah Qutb Shah (1625-72). Close view of the tower of the church.[Gelatin silver print, 57x79mm]. Close view of the Trimurti sculpture: 'The most striking of the sculptures is the famous colossal three-faced bust, at the back of the cave, facing the entrance...It occupies a recess ten and a half feet deep - exclusive of the pilasters in front which is about two and a half feet...' Close view of the two end columns of the mandapa, which can also be seen in print 1346D. The column on the left is carved in the form of a rearing animal; that on the right, which terminates the fa�ade, is in the form of twin colonnettes. Close view of the unfinished gopura, showing elaborate carved detail. Close view of the unfinished gopura. Close view of the upper half of a largely buried column, its capital in the form of a miniature temple in Kashmiri style. Albumen print duplicate at Photo 1000 (1285).[Carbon print ('Autotype'), 147x194mm]. Close view of the upper half of the central arch, showing surrounding decorative work. Close view of the verandah of the Mussaman Burj, showing detail of pietra dura work on facades.[Developing-out paper, 239x290mm]. Close view of the very richly-carved doorway, architraves and surrounds. Close view of the west face of the base of the lamp-column. Close view of the wooden rest-house. Plate 17 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Close view of three pierced stone windows. Close view of three sculpture pieces. Close view of three sculpture pieces (Parshvanatha and Surya lacking heads). Close view of throne.[Albumen print, signed 'Abdullah Fr�res' in the negative, 199x256mm]. Close view of tiers of carved wooden nats.Plate 4 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Close view of tilework and calligraphic decoration on the wall of the Sultan's balcony (hunkar mahfili) in the mosque.[Albumen print, 383x307mm]. Close view of tilework decoration on exterior wall of tomb.[Albumen print, 380x309mm]. Close view of tomb. Close view of tomb of Zar Zari Baksh from the inner courtyard. Close view of tombstone, richly embellished with calligraphic carving. Close view of tombstone, with elaborate calligraphic inscription. Archaeological Reconnaissances, fig. 82: 'Tombstone at Fal, Galehdar.' Close view of tombstone, with headstone in foreground. Close view of top element of miniature carved gateway. Close view of top of arch and pier. Duplicate of Photo 1008/9 (2624).[Gelatin silver print]. Close view of top of arched niche, with plasterwork cornice above. Ancient Persis, fig. 2: 'Stucco decoration on wall of domed hall, Palace (Atash-kadeh), Firuzabad.' This shows the section of wall to the right of that seen in print 7. (Ancient Persis Map, A3). Close view of top of column, with pendentive decorated in relief above. Close view of tower of shrine. Close view of tower on building. Close view of triangular sculpture panel, with figures. Close view of triangular sculpture panel. Close view of triple-headed Shiva image in the temple sanctuary. Close view of two apsaras, the figure on the left in profile holding a flower, the figure on the right with a bowl of flowers.[Albumen print, 203x140mm]. Close view of two arched openings. Close view of two capitals, illustrated in A. Cunningham, Report for the year 1872-73 (A.S.I. vol. V, Calcutta, 1882), pl. xlix.Duplicate (earlier print) at Photo 1000 (5920). Close view of two carved bases. Close view of two carved fragments. Close view of two carved pillars. Close view of two carved pillars. Close view of two carved slabs. Close view of two figures, the one on the left holding a bowl of flowers or fruit. This pair is to the right of the figures in prints 16-17.[Albumen print, 203x141mm]. Close view of two-headed bird amidst foliate designs. Close view of two of the marble lattice-work windows in the tomb of Shaikh Salim Chishti. Faded print.[Albumen print, 83x96mm]. Close view of two of the square sculptured columns of the fa�ade. Close view of two of the stupas: see note at print 2307. Close view of two pieces. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1398). Close view of two pillars. Close view of two richly carved pillars. Close view of two sculptured figures of maidens on temple dome. the figures, standing niches supported on carved brackets with other figures beneath, encircle the circumference of the dome. Close view of two sculpture panels of temple guardian figure. Close view of two sculpture slabs carved with Naga images. Close view of two seals, square shaped, with representations of oxen.[Gelatin silver print, 151x107mm]. Close view of two small stuccoed brick pagodas. Plate 20 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Close view of two square-sectioned, carved pillars. Close view of unfinished pillars, rough-hewn and still showing chisel marks. Precise location undetermined.*Extra print, not included in original published version.[Albumen print, 80x97mm]. Close view of unidentified remains. Close view of upper half of sculpture panel. Faded print. Close view of upper portion of massive wooden gateway. Close view of upper portion of pillar and strut, showing carved detail. Close view of verandah. Close view of Vishnu image, also seen in print 20. Close view of wall, showing intricate sculptural detail and mouldings. Close view of wall. Close view of wall of Iznik tilework in the Sultan Ahmet Mosque (Blue Mosque).[Albumen print, 383x309mm]. Close view of wall with arched doorways. Close view of whole gateway, showing sculptural detail.[?Matt collodion printing-out paper, 209x275mm]. Close view of whole of west gate, showing sculptural detail.[?Matt collodion printing-out paper, 205x284mm]. Close view of window, showing carved wood detail.# Close view of window, showing carved woodwork of a series of architraves. Close view of window, showing detail of carved stonework. Close view of window, with carving in the form of a female figure. Close view of window, with carving in the form of a male figure. Close view of window.[Carbon print]. Close view of window and flanking sculptures. Close view of window from below. Close view of window from inside apartment. Close view of window of tower or pavilion. Close view of windows and brackets. Close view of window with stone tracery screen: 'In the end walls are perforated windows, three in each, designed in rather an unconventional manner' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 16). Close view of wood-carved facade of monastery.[Printing-out paper, 72x101mm]. Close view of wood carving around doorway. Close view of wood carving on window surround. Close view of wooden balustrade. Close view of worn inscription. Close view of worn sculpture niche, with measuring scale at left. Albumen print duplicate (printed in reverse) at Photo 1000 (1259).[Carbon print ('Autotype'), 102x166mm]. Close view on site. Close view showing carved design. Close view showing carved detail. Close view showing carved detail of banded friezes. Close view showing carved detail of column and bracket above. Close view showing carved work. Close view showing decorative carved work.[Gelatin silver print, 145x205mm]. Close view showing decorative carved work.[Gelatin silver print, 149x202mm]. Close view showing detailing on architrave on entrance to temple. Close view showing detail of stone carving. Close view showing detail of tile work near door. Close view showing gallery and calligraphic inscriptions. Close view showing rich sculptural detail. Close view showing rich sculptural detail. Close view showing sculptural detail. This appears to be a different cenotaph to the one seen in print 1466 and 1467. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Close view showing sculptural detail. This appears to be a different cenotaph to the one seen in print 1466 and 1467. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Close view showing the intricately carved facade of the Shringara Chauri Temple.[Printing-out paper, 282x207mm]. Close view showing the sculptured columns of the mandapa. Close view showing the stone brackets supporting the eaves on the second floor. Similar to print 262, but a clearer view. Close view showing wall construction. Close view taken from left of centre. Half-buried in front of the relief is the Nagaraja image from the cleft between the two main rocks. India Museum no. 560. Duplicate of Photo 1000 (2503). Close view taken from the roof of the Alai Darwaza showing carved detail. Club situated on a waterfront. Cluster of Jain temples on the hillside. Cluster of Jain temples round the wall of the fort at Sirohi. Cluster of pagodas, with two under construction in the foreground. Cluster of shrines with pyramidal roofs, raised on a plinth. Cluster of small pagodas.[Gelatin silver print, 69x123mm]. Cluster of small two storey bungalows linked by verandahs. Collapsed and overgrown bastion. Collapsed wall of the Lakshmi Narayana Temple, after the 1905 earthquake. Collection of 30 6x9 cm uncaptioned Dufaycolor transparencies of South Indian scenes. The material includes seascapes, views in the hill country (probably the Nilgiris), palaces and other residences, monuments at Vijayanagara and elswehere, flower studies and informl portraits. Collection of Buddha images removed from a ruined stupa. Collection of eight heads of Bodhisattvas in Gandharan style. Collection of elaborately embellished tombs. Collection of fountain slabs, with decorative work in shallow relief. Collection of heads. Collection of loose sculpture pieces leaning against the base of a tree. Collection of sculpture fragments, including a number of Buddha images. Collection of sculpture fragments. Baman Das Basu (IMS 1891-1908) was the author of a number of historical works, including The story of Satara (1923). Collection of stone relic caskets, with an Indian man posed beside the pieces to indicate scale. A poor quality photograph, with a large dark patch obscuring part of the print. See note at print 2252. Duplicate at Photo 1008/1 (207). Collection of thatched bungalows. College designed by R.F. Chisholm. Collotype postcard. View of the gopuram. Colonel J.H.E. Reid is standing on the first floor balcony. Caption on verso reads: 'Fort at Madras where Jim & Florence lived'. Duplicate at Photo 752/5 (4). Colonnade of carved pillars in the Arhai-din-ka-Jhonpra Mosque. Colonnade of Hindu colonnades in the Quwwat-ul-Islam Mosque. Colonnade of pillars in the Quwwat-ul-Islam Mosque at the Qutb. Colonnade on either the east or west side of the building. Enlarged duplicate of print 332.[Gelatin silver print, 260x177mm]. Colour collotype postcard. Coloured half-tone postcard. Coloured half-tone reproduction. Coloured lithograph Coloured postcard. Coloured postcard view of the church. Column carved in form of Arjuna, a hero of the Mahabharata. Column carved in form of dancing girl. Column carved in form of dancing maiden. Column carved in form of Karna, a hero of the Mahabharata. Column carved in form of Korava and princess. Column carved in form of lion-like creature in mandapa. Columned archway with sculptured pediment above architrave. Columned hall inside the mosque. Columns of ruined temple at Mandhata. Column with sculptured figure. Column with sculptured figure of Shiva slaying an infant. Companion print to 287. Companion to print 298, showing left-hand side. Companion to print 337, showing other half of fa�ade. Companion to print 411, showing the corresponding niche at the right side of the cave; photographed with measuring pole and label numbered '5'. Compare Photo 1000 (2878) for a similar view, taken in 1870 Compare Photo 1000 (2882) for a similar view, taken in 1870 Compare print 241D, a view taken the following year. Compare with Indian Museum photographs, Bengal 426a. Compare with print 227D. Continuation of print 626. Continuation to the right of print 1, showing Stupa 3 in the distance.[Gelatin silver print, 196x151mm]. Continuation to the right of print 25. The two photographs join to form a panoramic view.[Silver printing-out paper, 76x133mm]. Continuation to the right of print 3, looking towards Stupa 3 in the distance.[Gelatin silver print, 202x152mm]. Copied by Donald Macbeth from a book. Copy at Photo 1002 (524). Copy at Photo 1002 (533). Copy at Photo 1002 (538). Copy at Photo 1002 (542). Copy at Photo 1002 (546). Copy at Photo 1002 (549). Copy at Photo 1002 (550). Copy at Photo 1002 (551). Copy at Photo 1002 (552). Copy at Photo 1002 (569). Copy at Photo 1002 (570). Copy at Photo 1002 (573). Copy at Photo 1002 (574). Copy at Photo 1002 (575). Copy at Photo 1002 (576). Copy at Photo 1002 (577). Copy at Photo 1002 (578). Copy at Photo 1002 (579). Copy at Photo 1002 (580). Copy at Photo 1002 (581). Copy at Photo 1002 (583). Copy at Photo 1002 (585). Copy at Photo 1002 (586). Copy at Photo 1002 (589). Copy at Photo 1002 (590). Copy at Photo 1002 (591). Copy at Photo 1002 (614). Copy at Photo 1002 (615). Copy at Photo 1002 (617). Copy at Photo 1002 (618). Copy at Photo 1002 (623). Copy at Photo 1002 (626). Copy at Photo 1002 (633). Copy at Photo 1002 (635). Copy at Photo 1002 (636). Copy of a drawing of the hospital. Copy of an architectural drawing. Copy of an architectural drawing. Copy of a panoramic view of the Taj Mahal from the top of the gateway. The original was in three parts (the seams are visible) and was rephotographed to make a single small print. Copy of a photograph by Beato, retouched by Dannenberg. See notes with duplicate at Photo 254/1 (45). This print is wrongly described as a Machhi Bhavan gateway. Copy of Beato's view of the Baillie Guard Gate with the Banqueting Hall in the background. Number 35 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. See Introduction for notes on the negatives. Copy of drawing. Copy print. Caption on the accompanying manuscript list reads: 'The Alum Bagh House near Lucknow, occupied by a detachment of Gen Outram's force in '57-8'. Copy print. Caption on the accompanying manuscript list reads: 'The Mosque Battery outside the gate of the Alum Bagh'. Copy print. In the preface to her book, Gardens of the Great Mughals, London 1913, Constance Villiers-Stuart writes: 'My grateful acknowledgements are due to Her Highness the Maji Sahiba of Bharatpur for her help in the matter of Hindu garden symbolism, and for the photographs of her Palace of Deeg'. Copy print. Copy print. Copy print. Copy print. Copy print. Copy print. This gola was built by John Garstin in 1786 as a famine relief measure but was only temporarily used for its intended purpose. Copy print from an older photograph. Corbelled column with platform in the Diwan-i-Khas. Corner of an unidentified building, with pagodas in background. Corner of screen from courtyard. Corner of the print is missing. Corresponding view to print 2924. Duplicate (later printing) of Photo 1000 (2927). Another copy at Photo 212/1 (28). Corridor of carved pillars in the great temple. Courtyard and cenotaph on the upper platform. Courtyard and garden of the Consul's house. Courtyard and interior arcade of the building also seen in print 2658. Courtyard and verandah.[100x76mm]. Courtyard in the palace. Courtyard of a Tibetan house. Courtyard of hospital, with group gathered near entrance.[104x78mm]. Courtyard of the Quwwat-ul-Islam mosque. From north-west. Courtyard on upper storey of mausoleum, with sarcophagus in centre. Courtyard view. From south-east. Courtyard view. From south-west. Cousens, 'Central Provinces list' (1897): 'An old temple of Chintamani Mahadeva, but of no interest.' Cousens, Central Provinces list, p. 27: 'The only remains at Jabalpur itself are some Jaina statues collected and built into a masonry block in the garden of Messrs. Cursetjee and Co. They are well carved images.' Another copy of this print at Photo 1002 (1242). Cousens, Central Provinces list, p. 27: 'The only remains at Jabalpur itself are some Jaina statues collected and built into a masonry block in the garden of Messrs. Cursetjee and Co. They are well carved images.' Cousens, Central Provinces list, p. 27: 'The only remains at Jabalpur itself are some Jaina statues collected and built into a masonry block in the garden of Messrs. Cursetjee and Co. They are well carved images.' Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1411). Cousens, Central Provinces list, p. 32: '13 miles south-east of Damoh. Judging from the number of sites of old temples, which are scattered in and around the village, Nohta must have been at one time a place of note. The only temple now standing is near the road, about half a mile to the south of the village. It is in a very ruinous condition, the outer shell of the walls of the shrine having for the most part fallen together with the sikhara and roof of the sabha mandapa. The temple consists of a shrine, hall, and porch, which have all been fully decorated.' Also described in Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', p. 6. Another copy of this print at Photo 1002 (1225). Cousens, Central Provinces list, p. 32: '13 miles south-east of Damoh. Judging from the number of sites of old temples, which are scattered in and around the village, Nohta must have been at one time a place of note. The only temple now standing is near the road, about half a mile to the south of the village. It is in a very ruinous condition, the outer shell of the walls of the shrine having for the most part fallen together with the sikhara and roof of the sabha mandapa. The temple consists of a shrine, hall, and porch, which have all been fully decorated.' Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1412).Compare with Photo 1009/11(2268-71). Cousens, Central Provinces list (1897), p. 'An old temple of Chintamani Mahadeva, but of no interest.' Cousens, Central Provinces list (1897), p. 'An old temple of Chintamani Mahadeva, but of no interest.' Cousens, Central Provinces list (1897), p. 74: 'Near this temple [dedicated to Bhavani] are seen some fragments of a large colossal statue. These are apair of feet six and a hald feet from toe to heel, and a hand to match, so that the statue may have been from fifty to sixty feet high. This enormous figure has not been a monolith, but built up in pieces as is evident from the heel being separate from the fore part of the foot which includes the ankles...Near them is another pair of feet somewhat smaller [not visible in this photograph'. India Museum no. 845. Duplicate of Photo 1000 (3352). Cousens, Central Provinces list (1897), p. 85. With armed figures grouped at entrance, presumably Gill's escort. India Museum no. 846. Duplicate of Photo 1000 (1980) and (3353). Covered gateway near Muhammad Bigarha's Tomb. Craved wooden wall cupboard. Credited to 'Dr Simpson', but possibly taken by Beglar. The museum was founded by Alexander Meyrick Broadley (ICS), who acquired much of the collection during his travels to archaeological sites in Bihar in the early 1870s. His archaeological work and some of the pieces brought to the museum, are described in his 'The Buddhistic Remains of Bihar' (Journal of the Asiatic Society of Bengal, vol 41, part 1, no. 3, 1872, pp. 209-312). In 1891, it was decided to transfer the collections to the Indian Museum in Calcutta. The figure standing on the verandah in this view is probably Broadley.See also Frederick M. Asher, 'The Former Broadley Collection, Bihar Sharif' ('Artibus Asiae', vol. 32, 1970, pp. 105-124). Ashley discovered an album containing prints from this series in the National Library, Calcutta, annotated in Broadley's hand and describing in a number of cases the provenance of the pieces. This particular photograph is captioned:'View of the museum from the south. On the east side is seen the colossal Varaha taken from the Burgaon Tank.' For a closer view of the sculpture, see print 194. This piece is now on display in the Indian Museum (accession no. A24126/3961). Credited to A. E. Caddy in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but judging from the format, more likely to be one of Cornish's photographs. This print appears as pl. 9 of M. H. Arnott's 'Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903' (London, 1903, IOL pressmark X466), captioned, 'Rajarani in disrepair'. The view looks towards the temple, with the mandapa in the foreground. Credited to A. E. Caddy in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but probably taken by Cornish. Credited to Beglar in Bloch's list, but possibly by an unidentified photographer. Reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. vi. Torana and railing now in the Indian Museum, Calcutta. Credited to Caddy, but probably one of Cornish's photographs. Credited to Caddy in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), in which case the date would be 1895, but more likely to be by Cornish. The view appears to be from the north-east rather than the south-east. Credited to Caney in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but to Garrick in Alexander Cunningham and H. B. W. Garrick, 'Report of tours in North and South Bihar, in 1880-81' (A.S.I. col. XVI, Calcutta, 1883), pl. xxix, where it is reproduced as a lithograph. Described pp. 129-30. Credited to Caney in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900); but see Alexander Cunningham and H. B. W. Garrick, 'Report of tours in North and South Bihar, in 1880-81' (A.S.I. col. XVI, Calcutta, 1883), p.130: 'About half a mile to the east of the village of Bhagalpur, and quite close to the banks of the Ghagra River, there stands a monolith of rough grey sandstone...The shaft, a large portion of which has been hewn away near the centre, bears an inscription of twenty-two lines on its east face, also a short inscription in English, thus: Circa A.D. 900. I took a small photograph of the whole pillar, and a large one of the inscription alone [ie, this print].' The photograph is reproduced as a lithograph at pl. xxxi. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but reproduced in photogravure and credited to G. W. Lawrie, in H. H. Cole, 'Buildings in the Punjab' (Preservation of National Monuments, India, 1884), plate 1. Cropped duplicate of Print 32. Cross-section of well. Crowd gathered at side of tank.[150x101mm]. Crowds outside a gateway, Great Imambara complex? Cube shaped stone temple with later pyramidal shaped roof. reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. ix and described pp. 29-30: '...It would be altogether unworthy of notice were it not for the ruthless waste of sculptures, and, very likely, valuable inscriptions also, that it exhibits in every part...' Curzon visited Dig on the 2nd of December, 1902. Cusped arches with elaborate carved decoration. Damaged fountain slab, with relief carvings and inscriptions. Damaged fragment. Damaged pieces, of a horseman and other figures. Reproduced as text illustration in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 81: 'The shrine doorway, within, rivals the exterior one in point of finish...Upon the cornice are groups of men and animals inprocession, among which, in the middle, is a horseman with head and shoulders broken off, preceded by musicians. The action and contour of both horse and man are very good...The group is not more than six inches high, and is cut in very bold relief, in fact it is almost detached from the cornice...' Damaged pieces, of a horseman and other figures. Reproduced as text illustration in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 81: 'The shrine doorway, within, rivals the exterior one in point of finish...Upon the cornice are groups of men and animals inprocession, among which, in the middle, is a horseman with head and shoulders broken off, preceded by musicians. The action and contour of both horse and man are very good...The group is not more than six inches high, and is cut in very bold relief, in fact it is almost detached from the cornice...' Damaged relief panel, lacking upper half. Damaged relief panel. Damaged sculpture of torso. Dark print, very poor quality photograph. General view of temple. Dated '3-6-20' in the negative.[Gelatin silver print, 100x121mm]. Decorated arched recess in interior. Decorated arches in the Hall of Public Audience. Decorated pot finial of Ranganatha Temple, Srirangam. Decorated tower in serpentine form, with Buddha images around base. Decorated towers of an unidentified temple. A much-faded print. Decorative pillar-shaped brass ornament. Described and illustrated in James Fergusson, 'History of Indian and Eastern Architecture' (London, 1910 edn.), vol. II, pp. 133-134. Described and illustrated in James Fergusson, History of Indian and Eastern Architecture (London, 1910 edn.), vol. II, pp. 133-134. Described as monoliths in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). Described in 'List of Ancient Monuments in Bengal. Revised and corrected up to 31st August 1895' (Calcutta, 1896), pp. 8-9:'These are temples of no great date, but curious. Tradition says that a Rohni Deoghar Brahmana once saw a jewelled arm rise out of the waters in the adjacent nala; he went and informed Raja Kalyana Simha of Kasipur, Pachet, who came himself and saw the prodigy. At night the goddess herself appeared to him in a dream and pointing to an irregular stone, somewhat like a rude argha, said�'This is my murti, worship it.' The Raja accordingly caused the temple to be erected, and the stone having been duly inscribed, was installed in the temple. As the Rajas of Pachet did not reside at Kasipur till comparatively recent times, the temples cannot be old...'See also, J. D. Beglar, Report of a tour through the Bengal provinces... (A.S.I. Vol. VIII, Calcutta, 1878), pp. 154-55. Described in A.C.L. Carlleyle, 'Report of a tour in Eastern Rajputana in 1871-72 and 1872-73' (A.S.I. vol. VI, Calcutta, 1878), pp. 249-251. Described in A.C.L. Carlleyle, Report of a tour in Eastern Rajputana in 1871-72 and 1872-73 (A.S.I. vol. VI, Calcutta, 1878), pp. 249-251. Described in A. Cunningham, 'Report of a tour in Eastern Rajputana in 1882-83' (A.S.I. vol. XX, Calcutta, 1885), pp. 115-116: The tomb is 'now called Bhatari, because the land on which it stands formerly belonged to a Hindu of that name.' When seen by Cunningham it was being used as a barn. The attribution of this photograph to Cole is probably incorrect. Described in A. Cunningham, 'Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77' (A.S.I. vol. X, Calcutta, 1880), p. 33: 'Close to the Hindola stands the ruins called Char-Kambha, or 'four pillars', which are all that now remains of a grand temple. These pillars are of the same style as those of the Hindola Toran, with lions' heads and elephants' heads at the ends of the brackets. They were most probably the supports of the Mahamandapa, or 'great hall'. Described in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77' (A.S.I. vol. X, Calcutta, 1880), p. 33: 'The building called Hindola is an ornamental entrance, or toran, leading to a Brahmanical temple. Hindola means simply a 'swing', and the toran with its two upright pillars and cross-beams has sufficient resemblance to the common Indian swing to justify the people in calling it by this name. The pillars of the toran are carved on all four faces. In the lower panels are represented the ten incarnations of Vishnu, the tortoise and fish being placed together on one pillar, and Buddha, standing with the right shoulder bare, with a small Kalki Avatar on his horse beside him, on the other pillar. The ends of the bracket capitals are fashioned as lions' and elephants' heads, the former facing outwards and the latter inwards. All the figures which once stood on the brackets are now gone; but there are two projecting stones on each face of the architrave with round holes on the under side, showing how far the figures must have leaned inwards. On the south face of the central pinnacle, which represents a small temple, there is a figure of the boar incarnation of Vishnu in the lower panel.' Described in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. Vol. X, Calcutta, 1880), pp. 44-45, where the height is given as 6 feet 7 inches. The statue is now in the Indian Museum, Calcutta. Described in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pp. 52-53: 'The roof is supported by four massive pillars, 8 feet high and 1 foot 7 inches square, also hewn out of the rock. They have richly-ornamented capitals, but instead of the usual turn-overs at the four corners, they have four horned and winged animals standing upright on their hind legs, and touching their mouths ith teir forefeet..' Described in Alexander Cunningham, 'Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77' (A.S.I. Vol. X, Calcutta, 1880), pp. 44-45, where the height is given as 6 feet 7 inches. The statue is now in the Indian Museum, Calcutta. Described in Archaeological Survey of Western India, IX, pp. 96-99: 'When visited by Mr Cousens at a later date, he reported: 'Save portions of the basement of one temple, and a few blocks of the back wall of another, nothing now remains of the beautieful shrines discovered in 1822, excepting one solitary column which, by its loneliness, accentuates the desolation around it. A short walk from this reveals one of the chief causes of this; for there, under the railway bridge, on each side of the stone piers, in the river bed, lie in heaps upwards of a hundred cart-loads of sculptured fragments and images, - the unused portions of the vast amount of marble carried off from these temples. It has been used wholesale on the railway, to build the piers of the neighbouring bridges and culverts and to break up for metalling the permanent way. Nor is this at all a solitary instance of such wanton destruction by railway contractors and others: it has been only too common.' 'An almost identical view, taken on the same occasion, can be found at Photo 1000 (1867). Described in Archaeological Survey of Western India, IX, pp. 96-99: 'When visited by Mr Cousens at a later date, he reported: 'Save portions of the basement of one temple, and a few blocks of the back wall of another, nothing now remains of the beautieful shrines discovered in 1822, excepting one solitary column which, by its loneliness, accentuates the desolation around it. A short walk from this reveals one of the chief causes of this; for there, under the railway bridge, on each side of the stone piers, in the river bed, lie in heaps upwards of a hundred cart-loads of sculptured fragments and images, - the unused portions of the vast amount of marble carried off from these temples. It has been used wholesale on the railway, to build the piers of the neighbouring bridges and culverts and to break up for metalling the permanent way. Nor is this at all a solitary instance of such wanton destruction by railway contractors and others: it has been only too common.' 'An almost identical view, taken on the same occasion, can be found at Photo 1000 (1867). Described in Beglar, op. cit., p. 152. An engraving from this photograph is reproduced in the 1910 edition of Fergusson's History of Indian and eastern architecture (vol. I, p.15) and is there identified as being a temple at Bahulara, Bankura District.Duplicate of Photo 1002 (18). Described in detail in A. Cunningham, Report for the years 1872-73 (A.S.I. vol. V, Calcutta, 1882), pp. 85-90, with plans, pl. xxvi. Described in detail in J.D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 164-166. Described in H.B.W. Garrick, 'Report of a tour in the Panjab and Rajputana in 1883-84' (A.S.I. Vol. XXIII, Calcutta, 1887), pp. 118-123. Described in H.B. W. Garrick, 'Report of a tour in the Panjab and Rajputana in 1883-84' (A.S.I. vol. XXIII, Calcutta, 1887), pp.131-132: 'Of the two early temples at Mokand-dwara, one is called Bhim-ke-chauri, or 'Bhim's Nuptial Hall'. This temple is remarkable chiefly on account of its lintels and consoles, being elaborately carved all over with strange animal forms and floral scrolls...' It is possible that Garrick rather than Beglar is the photographer of this print, in which case the date should be amended to 1883-84. Described in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pp. 2-14: 'Of this temple there now only remains a huge mass of debris and potsherds, the upper portion of the structure having been wholly demolished and its basement buried in its ruins...' Described in H.B.W. Garrick, Report of a tour in the Panjab and Rajputana in 1883-84 (A.S.I. Vol. XXIII, Calcutta, 1887), pp. 118-123. Described in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pp. 2-14: 'Of this temple there now only remains a huge mass of debris and potsherds, the upper portion of the structure having been wholly demolished and its basement buried in its ruins...' Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 81. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 98: 'The reputed graves of Afzal Khan's wives, situated in a grove of trees, are on a large masonry platform, with the remains of a large tank before it, known as the 'Muhammad Sarwar'. On the platform are eleven rows of graves, all being those of females, amounting, in all, to sixrty-three, with an open empty grave which would have made the sixty-fourth. These have been so regularly placed at equal intervals, and are all so uniform in size and design, that they appear to have been made for persons who had all died at the same time. Tradition tells us that, Afzal Khan being so impressed with the prediction that he would not return to Bijapur, and believing he would not require his worldly goods any longer, had all his wives drowned before setting out, and that all but one, who escaped, were buried here; hence the empty grave.' Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 111-113: 'Yaqut Dabuli, the Abysinnian slave, who was entrusted by Muhammad Shah with the elaborate colour decoration of the great mihrab in the Jami Masjid, lies buried just outside the citadel to the north-east. His remains repose within a very small mausoleum, close beside which is the mosque, in this case a larger and more important building than the other. The tomb is a compact little square structure with stone lattice work filling each of the three sides, the doorway being on the south side.... Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 57-61. Described in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 99: 'The temple of Santesvara...is in the middle of the village. it has comparatively little figure sculpture about it, but it is fully decorated with other ornament. The outer side of the parapet wall [seen in foreground of this view] around the hall, like that at Bankapur, is very effectively decorated with an endless repetition of miniature shikaras. The three porches of the hall have rather pretty ceilings with very elegant rosette centres. The interior, unlike that at Anavatti, is very low, and this makes it dark and gloomy and rather depressing.' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1364). Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 81. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 98: 'The reputed graves of Afzal Khan's wives, situated in a grove of trees, are on a large masonry platform, with the remains of a large tank before it, known as the 'Muhammad Sarwar'. On the platform are eleven rows of graves, all being those of females, amounting, in all, to sixrty-three, with an open empty grave which would have made the sixty-fourth. These have been so regularly placed at equal intervals, and are all so uniform in size and design, that they appear to have been made for persons who had all died at the same time. Tradition tells us that, Afzal Khan being so impressed with the prediction that he would not return to Bijapur, and believing he would not require his worldly goods any longer, had all his wives drowned before setting out, and that all but one, who escaped, were buried here; hence the empty grave.' Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 111-113: 'Yaqut Dabuli, the Abysinnian slave, who was entrusted by Muhammad Shah with the elaborate colour decoration of the great mihrab in the Jami Masjid, lies buried just outside the citadel to the north-east. His remains repose within a very small mausoleum, close beside which is the mosque, in this case a larger and more important building than the other. The tomb is a compact little square structure with stone lattice work filling each of the three sides, the doorway being on the south side.... Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 57-61. Described in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 99: 'The temple of Santesvara...is in the middle of the village. it has comparatively little figure sculpture about it, but it is fully decorated with other ornament. The outer side of the parapet wall [seen in foreground of this view] around the hall, like that at Bankapur, is very effectively decorated with an endless repetition of miniature shikaras. The three porches of the hall have rather pretty ceilings with very elegant rosette centres. The interior, unlike that at Anavatti, is very low, and this makes it dark and gloomy and rather depressing.' Described in J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), p. 135: '...a small temple named Kapileswar's, consisting of a cell with a small portico on four pillars in front. It faces west and is Saivic, with figure of Gane�a over the door: inside is a four-armed statue with Nandi on the pedestal; the cell is roofed by intersecting squares and surmounted by a tall tower roof; the execution is coarse, and style quite plain; the material granite cut and set without mortar. A bas-relief representing Hanuman well smeared with vermilion lies outside.' Described in J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), pp. 156-157: 'The temple is Saivic, and a figure of Gane�a keeps watch over the entrance, which faces east. The temple is particularly plain, by which I mean devoid of sculptured ornament; but the exterior is enriched by plain bold mouldings and surmounted by rows of massive plain tablets in place of the rows of statues of the Khajuraha temple. The general outline is very graceful...' Described in J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), pp. 185-186, and also in A. Cunningham, 'Report of a tour in the Central Provinces and Lower Gangetic Doab in 1881-82' (A.S.I. vol. XVII, Calcutta, 1884), pp. 27-30. Described in J.D. Beglar, 'Report of a tour in Bundelkhand and Malwa, 1871-72...' (A.S.I. vol VII, Calcutta, 1878), p. 91. Described in J.D. Beglar, 'Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76' (A.S.I. vol. XIII, Calcutta, 1882), pp. 121: 'The mahamandapa was supported partly on pillars and pilasters, which last were ornamented with life-sized sculptures of either men or divinities. I cannot speak too highly of the quality of the sculpture; although executed in an extremely soft yellowish sandstone, and consequently greatly worn and injured by time and weather, still, from what little remains, there is no doubt that they were executed in the best style of Hindu art...One sculpture, the only one that yet preserves some portion of its original beauty, represents a life-sized female under a royal canopy and standing on what (though from the excessive mutilation I cannot be certain) appears to have been a tortoise. The sculpture adorned the right jamb of the entrance to the sanctum.' Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), p. 40: 'The Hindu temple is in ruins, a few of the pillars alone standing in situ, and the accumulated rubbish prevents the plan of the temple from being accurately made out...' Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72... (A.S.I. vol VII, Calcutta, 1878), pp. 67-68. Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72... (A.S.I. vol VII, Calcutta, 1878), pp. 76-77: 'Close to the embankment and north-east of the great temple stands a group of ruins, consisting of the ruins of several temples and pillared halls; the principal one appears to have consisted of a court-yard surrounded on three sides by pillared halls...The statues inside are numerous; there are, in fact, all the ten avatars of Vishnu except the fish; the tortoise incarnation is remarkable [left side of photograph]...it represents a pole on the back of a tortoise with a rope wound round it, the ends of which are held on opposite sides by human figures; it is a representation of the churning of the sea when Vishnu assumed the form of a tortoise...The statue of the Buddha incarnation [right of print, indistinct]...is remarkable; it represents a man standing, holding an alms-bowl in his hand, and with a canopy over his head of the extended hood of a naga; this is a very unusual way of representing Buddha, and as such worthy of notice.' Described in J.D. Beglar, Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), pp. 121: 'The mahamandapa was supported partly on pillars and pilasters, which last were ornamented with life-sized sculptures of either men or divinities. I cannot speak too highly of the quality of the sculpture; although executed in an extremely soft yellowish sandstone, and consequently greatly worn and injured by time and weather, still, from what little remains, there is no doubt that they were executed in the best style of Hindu art...One sculpture, the only one that yet preserves some portion of its original beauty, represents a life-sized female under a royal canopy and standing on what (though from the excessive mutilation I cannot be certain) appears to have been a tortoise. The sculpture adorned the right jamb of the entrance to the sanctum.' Described in J.D. Beglar, Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), pp. 148-149: 'The stream from its point of issue is led by cut-stone spouts with a gentle slope to near the foot of the hill where it is allowed to pour out in a cascade; the place has naturally been hollowed out by the action of the water into a small shallow basin, which is now surrounded by a brick-and-mud wall, but which once clearly was more pretentiously ornamented by cut-stone bathing ghats and steps, remains of which exist. Within the basin and close to the spout are collected a number of figures Buddhist as well as Brahmanical...' Described in James Burgess, 'The cave temples of India' (London, 1880), p. 147: 'Immediately above this cave is the fragment of a structural temple, which forms one of the most conspicuous objects in the landscape from whichever side it is seen. It is not, however, centred exactly on the rock-cut portico below, and is evidently the erection of a later age, though probably intended to complete what the original cave excavators had left, like everything else in this place unfinished...' Described in James Burgess, The cave temples of India (London, 1880), p. 147: 'Immediately above this cave is the fragment of a structural temple, which forms one of the most conspicuous objects in the landscape from whichever side it is seen. It is not, however, centred exactly on the rock-cut portico below, and is evidently the erection of a later age, though probably intended to complete what the original cave excavators had left, like everything else in this place unfinished...' Described in M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), pp.254-255. Described in M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), pp.269-270. See also print 427a. Described in M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), pp. 283-284. Described in M.M.H. Kuraishi, List of ancient monuments protected under Act VII of 1904 in the Province of Bihar and Orissa (ASI, new Imperial series, vol. LI, Calcutta, 1931), pp. 3-5. Described in Maulvi Muhammad Hamid Kuraishi, 'List of ancient monuments protected under Act VII of 1904 in the Province of Bihar and Orissa' (ASI, New Imperial Series, vol. 51, Calcutta, 1931), pp. 120-122. Described in Nicholas & Co's catalogue as 'Mysore. No 6 Colossal figure of Shiva's Bull, said to be the largest of the kind in Southern India. It is carved out of solid rock on the side of Charmandi Hill, and is approached by ascending 660 stone steps'. Described in the Baker & Burke catalogue as: 'Shakranallum Sahib Mosque in the Fort', this building is the mausoleum of Rukn-ud-din, known as the Rukn-ul-Alam. Photograph reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 93. Described in the Bourne & Shepherd catalogue as: 'Tomb of Zenab Aliya (Mahomed Ali Shah's wife) built on the model of the Taj at Agra'. Described in the original caption as a 'Hindoo Temple' although the architecture suggests an Islamic tomb or mosque, or perhaps even a ghat as the foreground appears to be a dried-up river bed or tank. Description in Taylor's List of pictures: 'No I. The Temple of Tullejoo in Katmandoo. It is situated within the precincts of the Palace and none but the Royal family are allowed to worship in it. In the back ground are seen part of the City and a tall stone monument erected about 40 years ago by General Bheem Sen and which was struck by lightning a few years back (the place is distinctly visible in the photo) the range of buildings behind the monument is ""Thappatully"" the residence of Sir Jung Buhadoor, situated on the right bank of the Bagmutty'. Description in Taylor's List of pictures: 'No II. View of part of the King's Palace, the building with the white roof in the centre of the picture being a part of the zenana and Ladies apartment. In the foreground is seen the tall wooden mast called a ""Linga"" surrounded by 8 small beams which is annually erected on the first night of the Indra Jatra festival in September to commemorate the conquest of the valley by the Goorkhas in 1767, the long silken flag attached to its top is decorated with numerous symbols of Hindoo mythology'. Description in Taylor's List of pictures: 'No III. View of another part of the King's Palace. To the right of the tall centre building is the image of Bhairub, an incarnation of Shiva which is uncovered only during the Indra Jatra festival'. Description in Taylor's List of pictures: 'No IV. The Temple of Mahadeo on the banks of the Bagurutty River at Pushputtinath, considered to be the most sacred Temple in Nepal and which is annually visited by thousands of pilgrims from the plains'. Description in Taylor's List of pictures: 'No VII. The West front of the Durbar at Patun from the South the five storied Temple rising out of the centre of the Durbar (on the right side of the picture) is dedicated to Devy and is called Deo Patun. On the left of the drawing is part of a stone temple dedicated to Krishna, behind it a large bell on a stone platform, beyond the bell is the three-roofed temple of Hurreeshunkur. Facing this temple is a tall stone pillar surmounted by a copper-gilt figure of a Newar Rajah having a cobra with hood expanded standing erect behind him, on the cobra's head is a bird, range of temples in background'.Stored separately in Print Room planchest 6C.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Description in Taylor's List of pictures: 'No VIII. View from a window of the principal reception room in the Palace at Patun. Stone temple of Krishna in the back ground to the left, and temple of Mahadeo on the right. In the foreground is an enclosure with steps leading down to a ""Hittee"" or fountain'. This photograph is reproduced as a woodcut in James Ferguson's History of Indian and Eastern Architecture, 1910, Vol 1, fig 158. Description in Taylor's List of pictures: 'No X. Three-roofed Temple of Bhairub an incarnation of Shiva as the Destroyer, at Bhatgaon, erected about AD 1717'. Description in Taylor's List of pictures: 'No XI. Part of the Palace at Bhatgaon with Temples &c. In the centre is an octagonal double-storied building erected AD 1662 by the Bhatgaon Rajah as a summer house for his wives, also a stone pillar surmounted by a copper-gilt figure of the Rajah himself'. Description in Taylor's List of pictures: 'No XII. The golden gate in the Palace at Bhatgaon. It was put up by a Newar Rajah in 1754. The carvings above and on either side of the doorway represent Hindoo Deities symbols &c'. This photograph is reproduced as a woodcut in James Ferguson's History of Indian and Eastern Architecture, 1910, Vol 1, fig 160. Description in Taylor's List of pictures: 'No XIII. A Buddhist Temple at Sumbhoonath distant about 2 miles from Khatmandoo. It is of great antiquity. Date of erection unknown. It exhibits well the three essential parts of a ""Chaitya"" or mound temple namely, 1st the Hemisphere of solid base, or ""gurbh"", 2nd the square Capital or ""Toran"" surmounting the gurbh and having the oblong half-closed eyes of Buddha painted on each side of its four sides, 3rd the conical spire or ""chura-mani"" which always consists of thirteen segments representing the 13 Buddhist heavans, the whole crowned with the gilt ""chuttra"" on which rest the Kulsa lotus ""sur moor"" joining a tapering pinnacle the point of which is conical like a flame and represents the ""Tok"" or sacred light of Buddha. Temples and shrines in the foreground'. Desigened by W. Purdon and completed in 1877. Designed by W.H. Nicholls. Detail, showing decorative paintwork in interior. Detail. From south. Detail. From west. Detail. Detail. Detail. Detailed close-up view of sculpture of rearing horses and figures in the horse mandapa on the east side of the temple. Detailed view. Detailed view. Detailed view of figures. Detailed view of inlaid work on the tomb walls. Detail of a carved column. Detail of a carved tower. Detail of a doorway with lattice work panels. Detail of a frescoe. Detail of a frescoe. Detail of a frescoe. Detail of a Koranic inscription on the entrance to Mughis-ud-din's mosque. Detail of a sculptured panel taken from a temple depicting a goddess. Detail of a window in one of the Golden Pavilions. From west. Detail of bas-relief.*Extra print, not included in original published version.[Albumen print, signed 'J. Thomson' in the negative, 234x184mm]. Detail of brickwork. Detail of carved columns and trabeated arches in the Panch Mahal. Detail of carved figures. Detail of carved friezes on a temple wall. Detail of carved horse pillars. Detail of carved panel, containing relief of winged figure. Detail of carved pillars. Although unattributed, the style and printing process closely resembles that of Print 14 which is identified as a Wiele & Klein photograph. Detail of carved Quranic inscriptions on the Qutb Minar. Detail of carving. Detail of carving. Detail of carving. Detail of carving above temple entrance. Detail of carving along sides of terrace of the Surya Temple at Konarka. Original and duplicate negatives only, no print. Detail of carving at base of inner face gopura seen in print 34. Duplicate (later printing) of Photo 1000 (3173). Another copy at Photo 212/7 (35). Detail of carving on the capital of a broken column. Detail of carving on the Dhamekh stupa at Sarnath. Detail of carving on the gateway. Detail of columns. Detail of cupola of minaret. Detail of entrance. Detail of fa�ade showing tile work. Detail of figures carved in wood. Detail of frieze of elephants at base of pagoda. Original negative for this print is at Photo 92/9 (325) (Scott's negative reference: O18). Detail of gateway, with elephant figures carved in relief. From south. Detail of gateway, with lion figures carved in relief. From north. Detail of inlay. Detail of lower part of the Qutb Minar, showing carved decorations. Detail of Marochetti's angel statue. Detail of one of the arched entrances, showing marble lattice work windows and pietra dura decoration. Detail of pietra dura. Detail of portion of fa�ade. Detail of screen. From west. Detail of screen of cusped arches at entrance. Detail of sculpture. Detail of sculpture. Detail of sculpture in the Siva Cave. Detail of seated figures. Detail of small building in ruinous condition. The Saheli Burj No 1 is situated outside and to the south-west of the main entrance gate, next to the Fatehpur Mosque. Detail of staircase. Right side of a panoramic view. Detail of the base of the tower. Circular print. Detail of the carved doorway. Detail of the exterior facade with worshippers in the foreground. Detail of the facade, looking up from the garden below. Detail of the facade. Detail of the roof pavilion. Duplicate at Photo 37 (51). Detail of the temple's tower. Detail of top of tower. A grainy image, possibly an enlargement. Detail of two images. Detail of wooden door. From east. Detail of wrought iron-work above a gateway. Detail view. From south-west. Detail view of carved wood portion of fa�ade. Detail view of chajjas (sloping dripstones) from beneath, showing supporting brackets. Detail view of entrance steps and doorway. Devotee praying before a large stone image of a seated Buddha.[Gelatin silver print, 55x80mm]. Dharmaraja Ratha in foreground, Bhima Ratha beyond, Arjuna Ratha in background (partly out of picture). India Museum no. 547. Duplicate of Photo 1000 (2490). Different from gopura in print 575. Different view from Print 120. Different view taken at the same time as Print 51. Dignitaries arriving by car. Direct, side-on view of the temple car, showing the carving in more detail. Duplicate (later printing) of Photo 1000 (2984). Another copy at Photo 212/3 (4).Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Disk carved in form of lotus. Duplicate of Photo 1008/11 (150B).[153x202mm]. Display of arms, clocks and vases in a glass-fronted case in the Imperial Treasury of the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 255x200mm]. Distant, slightly blurred view of a bungalow. Distant of Kedleston Hall. Distant portrait of Henrietta Hogg standing at the edge of a tank in front of a large semi-derelict palace known as the Farah Bakhsh Palace or 'fairy garden'. Distant snapshot. Distant snapshot. Distant view, framed by a window in the fort. Distant view, looking across the tank towards the pillar on the bank. Signed and dated 'Edmd. W. Smith 1895' on mount. Reproduced in A. F�hrer, 'Monograph on Buddha Sakyamuni's birth-place in the Nepalese Terai' (Archaeological Survey of Northern India, vol 6, Allahabad, 1897), plate 3, there captioned, 'General view of Nigali Sagar near Nigliva.' Distant view, with Residency building in the background. Distant view, with the sandstone lat on the right. Distant view. Brickmakers are at work on the land in the foreground. Distant view. Circular print. Distant view. Copy at Photo 1002 (572). Distant view. Duplicate, in very poor conditin, at Photo 447/5 (36). Distant view. Duplicate (in poor condition) at Photo 447/5 (34). Distant view. Duplicate at Photo 10/12 (14). Distant view. Duplicate at Photo 447/3 (24). Distant view. Duplicate at Photo 556/3 (145). Distant view. Duplicates (in poor condition) at Photo 447/5 (12, 35). Distant view. Faded print. Distant view. From east. Distant view. From north-east. Distant view. From north-west. Distant view. From south-east. Distant view. From south-west. Distant view. Note reads: 'A noble structure in red sandstone, elaborately carved & inscribed with sentences from the Koran - surmounted by 26 marble cupolas'. Distant view. Poor quality print.[Silver printing-out paper, numbered '6/5' (6 May?) in the negative, 135x77mm]. Distant view. Poor quality print. From north-east. Distant view. Poor quality snapshot. Distant view. Small faded print. Distant view. Small faded print. Distant view. Small faded print. Distant view. Snapshot. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. This print was sent as a Christmas card. Distant view across maidan towards church.[Gelatin silver print, 98x78 mm]. Distant view from a rooftop opposite. Distant view from below. Distant view from Kingsway overlooking the tanks. Distant view from other side of gorge showing a line of yaks negotiating the pathway along the sheer cliff face. Distant view from the banks of the Jumna. Small print. Distant view from the banks of the lake. Distant view from the east. Small snapshot. Distant view from the grounds. Distant view from the grounds. Distant view from the grounds. Distant view from the grounds. Distant view from the lake. Duplicate at Photo 430/50 (22). Distant view from the lake. Distant view from the maidan. Distant view from the public gardens. Distant view looking across fields towards hospital buildings. Print in poorish condition, with overall spotting.[Albumen print, 374x306mm]. Distant view looking across the lake. Distant view looking over a tank. Distant view looking over the lake. Distant view looking through a gateway. Distant view looking towards pagoda and zayat (resthouse).[Albumen print, 99x74mm]. Distant view of a building looking over a tank. From south-east. Distant view of a bungalow. Distant view of a bungalow. Distant view of a bungalow in a wood. Distant view of a bungalow with a horse and trap outside. Distant view of a clocktower. Distant view of a cluster of temple pagodas.[Albumen print, 86x73mm]. Distant view of a colonnade adjacent to Hoshang Shah Gori's tomb. Distant view of a group of domed tombs. From west. Distant view of a group of tomb. From south. Distant view of a hotel in an unknown location. Poor quality snapshot. Distant view of a hut. Distant view of Ali Akbar's tomb. From south-east. Distant view of a mosque, probably in Bengal. Distant view of a palace building. Distant view of a single storey building. Distant view of a small fortified post. Distant view of a temple. Distant view of a tomb? From south-east. Distant view of a tomb. Distant view of audience hall. From north-west. Distant view of building and grounds. Distant view of buildings, with mountain beyond: '...on the bank of the Kyi Chu below Reting Monastery, lately repaired by the order of the Dalai Lama. It stands in a grove (ling-ka) of poplar (ja-pa) trees.' Distant view of bungalows designed by W.H. Nicholls. Distant view of church and club. Distant view of city walls.[102x74mm]. Distant view of Ctesiphon, with river in foreground. Distant view of Curzon's carriage under the porte-cochere of the college. Distant view of domed houses.[96x76mm]. Distant view of dzong. Distant view of enclosure wall. Distant view of fort.[103x77mm]. Distant view of fort.[75x100mm]. Distant view of fort. Distant view of fort on hill. Distant view of group of stupas. Distant view of guardhouse. Print in poor condition, overall fading and yellowing.[Printing-out paper, 323x259mm]. Distant view of hill. Distant view of Hindu temple. Distant view of house, with lake in foreground. Distant view of house at top of hill. Distant view of Humayun's tomb. Distant view of Jain temple, with pool in foreground Distant view of Kot Kangra, with ravine in foreground. Distant view of Lal Mundi Palace. Distant view of large chinthes. Distant view of large walled enclosure. Distant view of Mari ruins, silhouetted against the river beyond. Distant view of monastery and mansion. Distant view of monastery buildings on hillside. Bailey describes Pemakochung as a 'depressing, dead and alive sort of place' which had been partly depopulated by a smallpox epidemic three months previously (No Passport to Tibet, p. 126). Distant view of mosque. From north-east. Distant view of mosque. Distant view of mosque and tomb, the latter hidden by the former. Distant view of Mrs Storrs-Fox sitting on the wall outside the Home. Distant view of pagoda, with houses of village on left.[Printing-out paper, 97x71mm]. Distant view of ruined buildings. Distant view of ruined buildings and walls.[99x75mm]. Distant view of small white buildings on hillside. Distant view of squash courts. Distant view of St.Andrew's. Distant view of St Paul's. Distant view of Taj Mahal through columns of Samman Burj.[Lantern slide, 73x73mm]. Distant view of temple. Distant view of temple pagodas. Distant view of temple pagodas. Distant view of temples among wooded hills near Mong Nai.[131x78mm]. Distant view of the Atumashi Kyaung and Kuthodaw pagoda. This photograph is published (facing page 272) in George W. Bird's Wanderings in Burma, London, 1897. Distant view of the building seen in print 140.[77x65mm]. Distant view of the bungalow from the drive. Probably the home of F.T.C. Hughes, station staff officer, Erinpura Irregular Force. Distant view of the cathedral reflected in the tank. Distant view of the church. Distant view of the church under construction. Distant view of the Citadel and the Chand Minar.[Gelatin silver print, 286x236mm]. Distant view of the club situated on the end of a pier. Distant view of the country palace on a hill between Shah Mardan and Wazirabad. Faded print.[Silver printing-out paper, 139x81mm]. Distant view of the cylindrical brick stupa. Distant view of the Delhi Gate. Distant view of the dzong. Distant view of the Eden Sanatorium. Distant view of the facade. Distant view of the facade of the Dherwada. Distant view of the fort, with the minar on the skyline. Distant view of the fort. Poor quality print. Distant view of the fort. Distant view of the fort. Distant view of the fortified palace on the river. Distant view of the fort with women carrying water in the foreground. Distant view of the gateway. Small faded print. Distant view of the hall with the mutiny memorial on the left. Distant view of the hill from the south-east. Illustration reproduced in John H. Marshall, Excavations at Charsada in the Frontier Province (A.S.I. Annual Report 1902-03, Calcutta, 1904), fig. 3, p. 146. Distant view of the hill temple on the outskirts of the town. Distant view of the hilltop palace. Distant view of the house. Distant view of the house with access road in the foreground. A later annotation in pencil has scored out the words 'Fem. Normal School' and replaced them with 'Ch. of England Zenana Mission'. Distant view of the island palace on Pichola Lake. Distant view of the jail. Distant view of the Jami Masjid, with Ranjit Singh's Tomb to the left. Distant view of the mosque, overlooking fort buildings. Distant view of the Naval Arsenal, with Imperial frigates and steam yachts anchored on the Golden Horn. The Naval Hospital and the Admiralty buildings in the background (print with overall spotting).[Albumen print, 291x358mm]. Distant view of the Naval Arsenal. The Imperial steam yacht and frigates visible in the background. The Naval Hospital, The Admiralty and the Galata Tower are among the buildings in the background (print slighly spotted, similar to print 10).Albumen print, 308x376mm]. Distant view of the pagoda. Distant view of the palace.[Gelatin silver print, 98x78 mm]. Distant view of the palace. Distant view of the palace from an opposite hillside. Distant view of the Patodawgyi Pagoda. See notes at Print 59. Distant view of the pillar. Distant view of the Political Agent's residence. Distant view of the Potala. Distant view of the Raj Mahal. Distant view of the Red Fort from the Jami Masjid. Distant view of the Residency. Distant view of the Residency complex with the Baillie Guard Gate on the left, Aitken's Post and the Banqueting Hall in the centre and the main Residency building in distant right. Distant view of the samadhi of Maharaja Chhatrasal, in Chhatarpur state, with Dhubela Tal beyond. Distant view of the Sangameshvara Temple, with river in foreground. Distant view of the Secretariat under construction. Distant view of the side of the gateway. Distant view of the summerhouse seen in print 173.[97x74mm]. Distant view of the Taj, framed by pillars. Distant view of the Taj from the Fort. Distant view of the Taj Mahal, looking along the Jumna from Agra Fort. Distant view of the Taj Mahal from the Anguri Bagh, with the Khas Mahal in the foreground.[Lantern slide, 75X75 mm]. Distant view of the tank, Hiran Minar and octagonal hunting lodge. Distant view of the temple. Distant view of the tomb at the river's edge. Distant view of the tomb of a saint. Distant view of the Victoria Memorial with the gateway in the foreground. Distant view of the walled enclosure. Record no. 348 of Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Delhi Zail (excluding Shahjahanabad), Calcutta, 1919), pp. 241-2: 'The enclosure was built by Firoz Shah round the tomb which he had constructed for himself. But when Fath Khan, his favourite son, died during his life-time, he interred the prince there...' Distant view of the well, overlooking the memorial garden. Distant view of Thomason Civil Engineering College (founded 1847). Distant view of tomb. From west. Distant view of tomb. Distant view of tomb. Distant view of tomb and enclosure. From south-west. Distant view of tombs on a spur of rock. Innermost Asia, vol. 1, fig. 71: 'Ridge with tombs of Ihsans, Toghlan-shahr.' (I.A. Map 3, C1). Distant view of two bungalows. Distant view of two-storey bungalow and outbuilding, standing at the edge of the jungle. Distant view of unidentified building.[78x100mm]. Distant view of unidentified domed structure, not the Madan Mahal. See print 74 for a view of the Madan Mahal. Distant view of unidentified temple. Distant view of wall, colonnade and gateway. Distant view overlooking the garden. Duplicate at Photo 37 (37). Distant view showing enclosure wall. From south-east. Distant view showing the main gateway and tomb beyond. Distant view through trees. Distant view through trees. Distant view through trees. Distant view with a chhatri in the foreground. Distant view with Infantry barracks(?) in the background. Distant view with the Rajputana-Malwa Railway in the middle-ground. Diwan-i-Khas in the Red Fort. Dolmen, with oblong slab in foreground. Domed building with central room and arched arcade, probably originally built as a tomb (according to Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Calcutta, 1919), p. 137). Domed hall. Domed mandapa in foreground, with sanctuary tower beyond. Domed structure with elaborately-carved walls. Domed tomb, largely obscured by vegetation. Domed tomb. Domed tombs set among the thatched houses of the modern village. Domed tomb with arcade. Domed tomb with later thatched hut built on to side. Doorway at base of the tower. Doorway in dilapidated condition. Another view of this doorway, taken at a later date and reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxv (a), shows the damage done in intervening years. Cousens, who considered these doors, along with the carpets in the Asar Mahal, as 'the best works of art in the building', voiced his concern over the gradual destruction of these pieces (p. 91). Doorway in dilapidated condition. Another view of this doorway, taken at a later date and reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxv (a), shows the damage done in intervening years. Cousens, who considered these doors, along with the carpets in the Asar Mahal, as 'the best works of art in the building', voiced his concern over the gradual destruction of these pieces (p. 91). Doorway to courtyard, with paintings on surrounding walls. Doorway with carved surrounds. Doorway with richly-carved lintels. Double balcony windows with balcony and carved supporting brackets. India Museum no. 527(a). Duplicate of Photo 1000 (2438). Double exposure. Close view of jataka plaque. Drawing by Forchhammer. Drawing by the architect, W.H. Nicholls, dated 1914. Drawing Room? Drawing room furnished in European style. The two Makarpura Palaces (old and new) were situated a few miles south of the city. Drawing room interior. Drum frieze panels: Elliot (Madras) no. 99, Knox (1992) no. 51, Elliot (Madras) no. 93, Knox (1992) no. 52; railing copings: Elliot (Madras) no. 89, Knox (1992) no. 37 (right hand section only), Elliot (Madras) no. 110, Knox (1992) no. 44 (fragment); dome slabs: Elliot (Madras) no. 117, Knox (1992) no. 104, Elliot (Madras) no. 91, Knox (1992) no. 98. Also an indistinct piece, not part of the Elliot Marble, listed as Elliot (Madras), no. 84, not listed in Knox (1992). Drum pilasters:Elliot (Madras) no. 16, Knox (1992) no. 85, Elliot (Madras) no. 15, Knox (1992) no. 86; dome slab: Elliot (Madras) no. 129, Knox (1992) no. 102; drum frieze panel: Elliot (Madras) no. 105, Knox (1992) no. 56. Dubious identification. (?)Possibly Yeola, Nasik District. Dubious identification. (?)Possibly Yeola, Nasik District. Dupe film negative from original nitrate negative now destroyed. Dupe film negative from original nitrate negative now destroyed. Duplicate (cropped differently) of Photo 894/1 (45). Duplicate (earlier print) at Photo 430/35 (1). Duplicate (earlier print) at Photo 430/35 (13). Duplicate (earlier print) at Photo 430/35 (14). Duplicate (earlier print) at Photo 430/35 (15). Duplicate (earlier print) at Photo 430/35 (16). Duplicate (earlier print) at Photo 430/35 (19). Duplicate (earlier print) at Photo 430/35 (20). Duplicate (earlier print) at Photo 430/35 (22). Duplicate (earlier print) at Photo 430/35 (23). Duplicate (earlier print) at Photo 430/35 (25). Duplicate (earlier print) at Photo 430/35 (26). Duplicate (earlier print) at Photo 430/35 (28). Duplicate (earlier print) at Photo 430/35 (29). Duplicate (earlier print) at Photo 430/35 (3). Duplicate (earlier print) at Photo 430/35 (31). Duplicate (earlier print) at Photo 430/35 (36). Duplicate (earlier print) at Photo 430/35 (38). Duplicate (earlier print) at Photo 430/35 (4). Duplicate (earlier print) at Photo 430/35 (42). Duplicate (earlier print) at Photo 430/35 (5). Duplicate (earlier print) at Photo 430/35 (8). Duplicate (earlier print) at Photo 430/35 (9). Duplicate (in better condition) of print 132. Duplicate (in poor condition) at Photo 447/5 (2) Duplicate (in poor condition) at Photo 447/5 (44). Duplicate (later printing) of Photo 1000 (2047). Duplicate (later printing) of Photo 1000 (2903 and 2904). Duplicate (later printing) of Photo 1000 (2912). Duplicate (or variant?) of print 81. Duplicate (printed slightly dark) of print 1352. Duplicate at ASIO 1951. Duplicate at ASIO 1955. Duplicate at ASIO 1958. Duplicate at ASIO 1964. Duplicate at ASIO 1965. Duplicate at ASIO 1966. Duplicate at ASIO 1970. Duplicate at ASIO 1992. Duplicate at ASIO 3249. Listed in Bloch's List of photographic negatives of ancient buildings, statues and inscriptions belonging to the India Office, London (Calcutta, 1900), Serial No.414. Also described in E.D.Lyon's Notes to accompany a series of photographs designed to illustrate the ancient architecture of Western India (Geneva, 1871 [IOL W4875]). Duplicate at ASS (181). Duplicate at ASS (182). Duplicate at ASS (188). Duplicate at ASS (199). Duplicate at ASS (202). Duplicate at Mss Eur E267/189 (42). Duplicate at Mss Eur E267/189 (43). Duplicate at Mss Eur E267/189 (44). Duplicate at Mss Eur E267/189 (45). Duplicate at Mss Eur E267/189 (46). Duplicate at Mss Eur E267/189 (47). Duplicate at Mss Eur E267/189 (48). Duplicate at Mss Eur E267/189 (50). Duplicate at Mss Eur E267/189 (51). Duplicate at Mss Eur E267/189 (52). Duplicate at Mss Eur E267/189 (53). Duplicate at Mss Eur E267/189 (54). Duplicate at Mss Eur E267/189 (56). Duplicate at Mss Eur E267/189 (57). Duplicate at Mss Eur E267/189 (58). Duplicate at Mss Eur E267/189 (59). Duplicate at Mss Eur E267/189 (60). Duplicate at Mss Eur E267/189 (61). Duplicate at Photo 10/12 (2). Duplicate at Photo 10/12 (39). Duplicate at Photo 10/12 (6). Duplicate at Photo 10/12 (7). Duplicate at Photo 10/12 (8). Duplicate at Photo 10/12 (9). Duplicate at Photo 10/13 (16). Duplicate at Photo 10/13 (17). Duplicate at Photo 10/13 (18). Duplicate at Photo 10/13 (27). Duplicate at Photo 10/13 (28). Duplicate at Photo 10/13 (29). Duplicate at Photo 10/13 (30). Duplicate at Photo 10/13 (31). Duplicate at Photo 10/13 (32). Duplicate at Photo 10/13 (33). Duplicate at Photo 10/13 (34). Duplicate at Photo 10/13 (36). Duplicate at Photo 10/13 (37). Duplicate at Photo 10/13 (38). Duplicate at Photo 10/13 (43). Duplicate at Photo 10/13 (44). Duplicate at Photo 10/13 (45). Duplicate at Photo 10/13 (46). Duplicate at Photo 10/13 (47). Duplicate at Photo 10/13 (48). Duplicate at Photo 10/13 (49). Duplicate at Photo 10/13 (50). Duplicate at Photo 10/13 (51). Duplicate at Photo 10/13 (52). Duplicate at Photo 10/13 (53). Duplicate at Photo 10/13 (55) [Neg. B.5874]. Duplicate at Photo 10/13 (56). Duplicate at Photo 10/13 (57). Duplicate at Photo 10/13 (58). Duplicate at Photo 10/13 (59). Duplicate at Photo 10/13 (60). Duplicate at Photo 10/13 (61). Duplicate at photo 10/13 (63). Duplicate at photo 10/13 (65). Duplicate at photo 10/13 (66). Duplicate at photo 10/13 (67). Duplicate at photo 10/13 (68). Duplicate at photo 10/13 (69). Duplicate at photo 10/13 (70). Duplicate at photo 10/13 (71). Duplicate at photo 10/13 (72). Duplicate at photo 10/13 (74). Duplicate at photo 10/13 (75). Duplicate at photo 10/13 (76). Duplicate at photo 10/13 (77). Duplicate at photo 10/13 (78). Duplicate at photo 10/13 (79). Duplicate at photo 10/13 (80). Duplicate at photo 10/13 (81). Duplicate at photo 10/13 (82). Duplicate at Photo 10/18 (100). Duplicate at Photo 10/18 (20). Duplicate at Photo 10/18 (21). Duplicate at Photo 10/18 (23), there captioned, 'The Rasul Manzil. Duplicate at Photo 10/18 (34). Second copy neg at B.11279. Duplicate at Photo 10/18 (36). Duplicate at Photo 10/18 (38). Duplicate at Photo 10/18 (39). Duplicate at Photo 10/18 (41). Duplicate at Photo 10/18 (44). Duplicate at Photo 10/18 (46). Duplicate at Photo 10/18 (47). Second copy neg at B.9377. Duplicate at Photo 10/18 (48). Duplicate at Photo 10/18 (50). Duplicate at Photo 10/18 (52). Duplicate at Photo 10/18 (61). Duplicate at Photo 10/18 (65). Duplicate at Photo 10/18 (66). Duplicate at Photo 10/18 (67). Duplicate at Photo 10/18 (69). Second copy neg at B.7898. Duplicate at Photo 10/18 (70). Duplicate at Photo 10/18 (73). Duplicate at Photo 10/18 (82). Duplicate at Photo 10/18 (83). Duplicate at Photo 10/18 (85). Duplicate at Photo 10/6 (40). Duplicate at Photo 10/6 (41). Duplicate at Photo 1000 (4095). Duplicate at Photo 1008/1 (182). Duplicate at Photo 1008/1 (202). Duplicate at Photo 1008/10 (121G).[203x153mm]. Duplicate at Photo 1008/10 (5G).[132x105mm]. Duplicate at Photo 1008/6 (826).[202x152mm]. Duplicate at Photo 1008/7 (1515).[203X152MM]. Duplicate at Photo 1008/8 (2004).[203x152mm]. Duplicate at Photo 1008/8 (2005).[203x152mm]. Duplicate at Photo 1008/8 (2006).[203x151mm]. Duplicate at Photo 1008/8 (2007).[203x153mm]. Duplicate at Photo 1008/8 (2107).[203x154mm]. Duplicate at Photo 1008/8 (2108).[200x152mm]. Duplicate at Photo 1008/9 (2312).[152x203mm]. Duplicate at Photo 1008/9 (2313).[152x203mm]. Duplicate at Photo 1008/9 (2315).[151x201mm]. Duplicate at Photo 1008/9 (2316).[203x152mm]. Duplicate at Photo 1008/9 (2626).[151x204mm]. Duplicate at Photo 1008/9 (2627).[204x152mm]. Duplicate at Photo 1008/9 (2655).[202x153mm]. Duplicate at Photo 1008/9 (2729).[155x113mm]. Duplicate at Photo 114 (15). Duplicate at Photo 114 (19). Duplicate at Photo 114 (20). Duplicate at Photo 114 (22). Duplicate at Photo 114 (9). Duplicate at Photo 169/2 (10). Another copy at print 48. Duplicate at Photo 169/2 (7). Duplicate at Photo 17/4 (55). The Rani Sagar tank is in the foreground. Duplicate at Photo 175 (124). Duplicate at Photo 190/2 (4) where it's attributed to S.K. Chokrobortty. Duplicate at Photo 2/3 (114). Duplicate at Photo 20 (31). Duplicate at Photo 254/1 (25). Duplicate at Photo 254/1 (31). Duplicate at Photo 254/1 (57). Duplicate at Photo 254/1 (64). Duplicate at Photo 254/1 (65). Duplicate at Photo 254/1 (66). Duplicate at Photo 254/1 (67). Duplicate at Photo 3/2 (107). Duplicate at Photo 3/2 (108). Duplicate at Photo 3/2 (110). Duplicate at Photo 3/2 (111). Duplicate at Photo 3/2 (112). Duplicate at Photo 3/2 (113). Duplicate at Photo 3/2 (118). Duplicate at Photo 3/2 (126). Duplicate at Photo 3/2 (129). Duplicate at Photo 3/2 (132). Duplicate at Photo 3/2 (133). Duplicate at Photo 3/2 (134). Duplicate at Photo 3/2 (136). Duplicate at Photo 3/2 (44). Duplicate at Photo 3/2 (47). Duplicate at Photo 3/2 (49). Duplicate at Photo 3/2 (54). Duplicate at Photo 3/2 (69). Duplicate at Photo 3/2 (92). Duplicate at Photo 3/2 (93). Duplicate at Photo 3/2 (94). Duplicate at Photo 31/1 (89). Duplicate at Photo 335/1 (145).Print unsigned, but probably the photograph listed in the Nicholas & Co. catalogue (copy at Photo 745) as '1. Golden Flag Staff.' Duplicate at Photo 355/8 (5). Duplicate at Photo 37 (16). Duplicate at Photo 37 (17). Duplicate at Photo 37 (19). Duplicate at Photo 37 (20). Duplicate at Photo 37 (21). Duplicate at Photo 37 (22). Duplicate at Photo 37 (23) where it's described as the durbar hall. Duplicate at Photo 37 (24) where it's described as the Darbar Room. Duplicate at Photo 37 (25) where it's described as the Zanana Palace. Duplicate at Photo 37 (26). Duplicate at Photo 37 (27). Duplicate at Photo 37 (28). Duplicate at Photo 37 (29). Duplicate at Photo 37 (30). Duplicate at Photo 37 (33). Duplicate at Photo 37 (47). Duplicate at Photo 37 (48). Duplicate at Photo 37 (50). Duplicate at Photo 42 (124). Duplicate at Photo 430/27 (21). Duplicate at Photo 430/28 (10). Duplicate at Photo 430/28 (11). Duplicate at Photo 430/28 (12). Duplicate at Photo 430/28 (17). Duplicate at Photo 430/28 (8). Duplicate at Photo 430/28 (9). Duplicate at Photo 430/38 (10). Duplicate at Photo 430/38 (12). Duplicate at Photo 430/38 (13). Duplicate at Photo 430/38 (14). Duplicate at Photo 430/38 (15). Duplicate at Photo 430/38 (16). Duplicate at Photo 430/38 (18). Duplicate at Photo 430/38 (19). Duplicate at Photo 430/38 (20). Duplicate at Photo 430/38 (21). Duplicate at Photo 430/38 (23). Duplicate at Photo 430/38 (24). Duplicate at Photo 430/38 (25). Duplicate at Photo 430/38 (30). Duplicate at Photo 430/38 (31). Duplicate at Photo 430/38 (32). Duplicate at Photo 430/38 (33). Duplicate at Photo 430/38 (34). Duplicate at Photo 430/38 (35). Duplicate at Photo 430/38 (36). Duplicate at Photo 430/38 (37). Duplicate at Photo 430/38 (40). Duplicate at Photo 430/38 (44). Duplicate at Photo 430/38 (45). Duplicate at Photo 430/38 (48). Duplicate at Photo 430/38 (53). Duplicate at Photo 430/38 (54). Duplicate at Photo 430/38 (55). Duplicate at Photo 430/38 (60). Duplicate at Photo 430/38 (8). Duplicate at Photo 430/38 (9). Duplicate at Photo 430/40 (41). Duplicate at Photo 430/41 (38). Duplicate at Photo 430/46 (41). Duplicate at Photo 430/47 (11). Duplicate at Photo 430/47 (9). Duplicate at Photo 430/50 (2). Duplicate at Photo 430/50 (20). Duplicate at Photo 430/50 (23). Duplicate at Photo 430/50 (25). Duplicate at Photo 447/3 (27). Duplicate at Photo 556/3 (51). Duplicate at Photo 578/4 (11). Duplicate at Photo 578/4 (12). Duplicate at Photo 614 (10). Duplicate at Photo 614 (20). Duplicate at Photo 614 (24). Distant view. Duplicate at Photo 614 (26). Duplicate at Photo 799 (68). Duplicate at Photo 897/3 (38). Duplicate at Photo 897/3 (39). Duplicate at print 154. Duplicate at Print 18. Duplicate at print 20. Duplicate at print 75. Photo 1000/8 (903) is a platinum print from the same negative. Duplicate at print 80. Another copy (platinum print) at Photo 1000/8 (902). Duplicate at print 90. Photo 1000/8 (903) is a platinum print from the same negative. Duplicate at print 91. Another copy (platinum print) at Photo 1000/8 (902). Duplicate at volume 7, no. 832, of Archaeological Remains series. Duplicate from original nitrate negative only: no print. Duplicate negative, no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. There is some confusion as to the numbering of this K.18 sequence in Stein's notebooks: captions given here appear to match the subjects, although they do not agree with the numbers given by Stein. Duplicate of 284.[Gelatin silver print, 142x208mm]. Duplicate of 567. Duplicate of 6.[Lantern slide, 73x73mm]. Duplicate of ASIO 1959. Duplicate of ASIO 1968. Duplicate of ASIO 1969. Duplicate of ASIO 1972, where it's described as, 'South side of the tank'. Duplicate of ASIO 2114a (in Vol 20). Duplicate of ASIO 2116a (in Vol 20). Print is cut in two across the top. Duplicate of ASIO 2117a (in Vol 20). Duplicate of India Office Series, Photo 1000/28(2743). This is 'No 3' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2761). This is 'No 21' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2762). This is 'No 22' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2763). This is 'No 23' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2765). This is 'No 25' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2771). This is 'No 31' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2775). This is 'No 35' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2781). This is 'No 41' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2783). This is 'No 43' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2785) where its described as 'Karna Chopar Cave'. This is 'No 45' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2787). The cave on the left is 'Vadithi-ka-Kubha cave' and on the right 'Vapiya-ka-Kubha'. This is 'No 47' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2788) where its described as 'Vadithi-ka-Kubha cave'. This is 'No 48' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2789) where its described as 'Vapiya-ka-Kubha cave'. This is 'No 49' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2794). This is 'No 54' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2795). This is 'No 55' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2796). This is 'No 56' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2798). This is 'No 58' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2800). This is 'No 60' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2801). Sculpture depicts Visnu sitting on the shoulders of Garuda. This is 'No 61' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2802). This is 'No 62' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2803). This is 'No 63' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2808). This is 'No 68' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2812). This is 'No 72' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2815). This is 'No 76' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2816). This is 'No 75' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2817). This is 'No 77' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2820). This is 'No 80' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2821). This is 'No 82' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2823). This is 'No 83' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2825). This is 'No 85' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2828). This is 'No 88' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2829). This is 'No 89' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2830). This is 'No 90' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2836). This is 'No 96' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2841). This is 'No 101' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2842). This is 'No 102' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2843). This is 'No 103' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2850). This is 'No 112' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2853). This is 'No 113' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2854). This is 'No 114' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2868). This is 'No 128' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2872). This is 'No 132' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/29(2879). This is 'No 139' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of number 38. Duplicate of part 282 (87). Duplicate of Photo (21). Duplicate of Photo 1000/5 (530). Duplicate of Photo 1000 (1768). Duplicate of Photo 1000 (1984) and (3357). Duplicate of Photo 1000 (1987) and (3362). Duplicate of Photo 1000 (2164a). Duplicate of Photo 1002 (15). Duplicate of Photo 1002 (21). Duplicate of Photo 1008/10 (12G) and Photo 314 (18).[199x152mm]. Duplicate of Photo 1008/10 (134D).[203x153mm]. Duplicate of Photo 1008/10 (2G).[120x143mm]. Duplicate of Photo 1008/10 (7G). Another copy in this album at print 52.[203x153mm]. Duplicate of Photo 1008/10 (871D).[202x153mm]. Duplicate of Photo 1008/10 (897D).[202x153mm]. Duplicate of Photo 1008/9 (2282).[Silver printing-out paper, 158x215mm]. Duplicate of Photo 1008/9 (2297).[202x151mm]. Duplicate of Photo 1008/9 (2326).[Silver printing-out paper, 211x159mm]. Duplicate of Photo 1008/9 (2327).[Silver printing-out paper, 213x158mm]. Duplicate of Photo 1008/9 (2328).[Silver printing-out paper, 212x155mm]. Duplicate of Photo 1008/9 (2330).[Silver printing-out paper, 213x154mm]. Duplicate of Photo 1008/9 (2363). Another copy at Photo 3/2 (102).[Silver printing-out paper, 208x154mm]. Duplicate of Photo 1008/9 (2385).[Silver printing-out paper, 213x155mm]. Duplicate of Photo 1008/9 (2598).[152x199]. Duplicate of Photo 1008/9 (2623).[202x152mm]. Duplicate of Photo 1008/9 (2650). Another copy at Photo 3/2 (122).[Gelatin silver print, 197x150mm]. Duplicate of Photo 179 (14). Duplicate of Photo 179 (3). Duplicate of Photo 2/2 (79). another copy at print 146. Duplicate of Photo 212/6 (17). Duplicate of Photo 212/6 (18). Duplicate of Photo 212/6 (19). Duplicate of Photo 212/6 (20). Duplicate of Photo 212/6 (21). Duplicate of Photo 212/6 (22). Duplicate of Photo 212/6 (23). Duplicate of Photo 212/6 (24). Duplicate of Photo 212/6 (25). Duplicate of Photo 212/6 (26). Duplicate of Photo 212/6 (27). Duplicate of Photo 212/6 (28). Duplicate of Photo 212/6 (29). Duplicate of Photo 212/6 (30). Duplicate of Photo 212/6 (31). Duplicate of Photo 212/6 (32). Duplicate of Photo 212/6 (40). Duplicate of Photo 212/7 (1). Duplicate of Photo 212/7 (2). Duplicate of Photo 212/7 (27). Duplicate of Photo 212/7 (28). Duplicate of Photo 212/7 (29). Duplicate of Photo 212/7 (3). Duplicate of Photo 212/7 (30). Duplicate of Photo 212/7 (31). Duplicate of Photo 212/7 (32). Duplicate of Photo 212/7 (33). Duplicate of Photo 212/7 (34). Duplicate of Photo 212/7 (35). Duplicate of Photo 212/7 (36). Duplicate of Photo 212/7 (4). Duplicate of Photo 212/7 (5). Duplicate of Photo 212/7 (6). Duplicate of Photo 281/4 (7). Duplicate of Photo 32 (3).Size 513 (w) x 401 (h) mm. Duplicate of Photo 32 (4).Size 508 (w) x 355 (h) mm. Duplicate of Photo 32 (5).Size 495 (w) x 400 (h) mm. Duplicate of Photo 353 (18). This is print No 43 in the China series of views listed in H. Hering's Photographic views and panoramas taken by Signor Beato: 'View of the Summer Palace, Yuen-Ming-Yuen, showing the Pagoda before the Burning, October, 1860'. Duplicate of Photo 353 (20). This is print No 33 of the China series described in H. Hering's Photographic views and panoramas taken by Signor Beato as 'View of the Imperial Winter Palace, Pekin, showing the Artificial Hill, October 29th, 1860'. Duplicate of Photo 383/1 (27). Duplicate of Photo 387 (41). Duplicate of Photo 387 (42). Duplicate of Photo 430/36 (22). Duplicate of Photo 430/36 (30). Duplicate of Photo 447/1 (5). Duplicate of Photo 481/4 (8). Duplicate of Photo 499 (45). This is a copy of number 15 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. See Introduction to Photo 499 for notes on the negatives. Duplicate of Photo 53 (19).Size 500 (w) x 402 (h) mm. Duplicate of Photo 53 (45). View framed by a cusped arch looking towards tomb surrounded by a stone screen.Size 500 (w) x 402 (h) mm. Duplicate of Photo 61/1 (102). Duplicate of Photo 61/1 (103). Duplicate of Photo 61/1 (107). Duplicate of Photo 61/1 (108). Duplicate of Photo 61/1 (109). Duplicate of Photo 61/1 (110). Duplicate of Photo 61/1 (111). Duplicate of Photo 61/1 (112). Duplicate of Photo 61/1 (115). Duplicate of Photo 61/1 (116). Duplicate of Photo 61/1 (117). Duplicate of Photo 61/1 (119). Duplicate of Photo 61/1 (12). Duplicate of Photo 61/1 (13). Duplicate of Photo 61/1 (14). Duplicate of Photo 61/1 (15). Duplicate of Photo 61/1 (16). Duplicate of Photo 61/1 (17). Duplicate of Photo 61/1 (18). Duplicate of Photo 61/1 (19). Duplicate of Photo 61/1 (2). Duplicate of Photo 61/1 (20). Duplicate of Photo 61/1 (21). Duplicate of Photo 61/1 (22). Duplicate of Photo 61/1 (23). Duplicate of Photo 61/1 (24). Duplicate of Photo 61/1 (25). Duplicate of Photo 61/1 (26). Duplicate of Photo 61/1 (27). Duplicate of Photo 61/1 (28). Duplicate of Photo 61/1 (3). Duplicate of Photo 61/1 (30). Duplicate of Photo 61/1 (32). Duplicate of Photo 61/1 (33). Duplicate of Photo 61/1 (34). Duplicate of Photo 61/1 (35). Duplicate of Photo 61/1 (37). Duplicate of Photo 61/1 (38). Duplicate of Photo 61/1 (39). Duplicate of Photo 61/1 (4). Duplicate of Photo 61/1 (40). Duplicate of Photo 61/1 (41). Duplicate of Photo 61/1 (42). Duplicate of Photo 61/1 (43). Duplicate of Photo 61/1 (47). Duplicate of Photo 61/1 (48). Duplicate of Photo 61/1 (49). Duplicate of Photo 61/1 (5). Duplicate of Photo 61/1 (50). Duplicate of Photo 61/1 (51). Duplicate of Photo 61/1 (52). Duplicate of Photo 61/1 (53). Duplicate of Photo 61/1 (54). Duplicate of Photo 61/1 (55). Duplicate of Photo 61/1 (58). Duplicate of Photo 61/1 (59). Duplicate of Photo 61/1 (6). Duplicate of Photo 61/1 (60). Duplicate of Photo 61/1 (62). Duplicate of Photo 61/1 (63). Duplicate of Photo 61/1 (64). Duplicate of Photo 61/1 (65). Duplicate of Photo 61/1 (66). Duplicate of Photo 61/1 (67). Duplicate of Photo 61/1 (68). Duplicate of Photo 61/1 (69). Duplicate of Photo 61/1 (7). Duplicate of Photo 61/1 (70). Duplicate of Photo 61/1 (72). Duplicate of Photo 61/1 (73). Duplicate of Photo 61/1 (74). Duplicate of Photo 61/1 (75). Duplicate of Photo 61/1 (76). Duplicate of Photo 61/1 (77). Duplicate of Photo 61/1 (78). Duplicate of Photo 61/1 (79). Duplicate of Photo 61/1 (8). Duplicate of Photo 61/1 (80). Duplicate of Photo 61/1 (81). Duplicate of Photo 61/1 (82). Duplicate of Photo 61/1 (83). Duplicate of Photo 61/1 (84). Duplicate of Photo 61/1 (85). Duplicate of Photo 61/1 (86). Duplicate of Photo 61/1 (87). Duplicate of Photo 61/1 (88). Duplicate of Photo 61/1 (89). Duplicate of Photo 61/1 (9). Duplicate of Photo 61/1 (90). Duplicate of Photo 61/1 (91). Duplicate of Photo 61/1 (92). Duplicate of Photo 61/1 (93). Duplicate of Photo 61/1 (94). Duplicate of Photo 61/1 (95). Duplicate of Photo 61/1 (96). Duplicate of Photo 61/1 (97). Duplicate of Photo 61/1 (98). Duplicate of Photo 92/11 (109).[Albumen print, 162x118mm]. Duplicate of Photo 965/1 (10). Duplicate of Photo 965/1 (11). Duplicate of Photo 965/1 (12). Duplicate of Photo 965/1 (13). Duplicate of Photo 965/1 (14). Duplicate of Photo 965/1 (15). Duplicate of Photo 965/1 (16). Duplicate of Photo 965/1 (17). Duplicate of Photo 965/1 (18). Duplicate of Photo 965/1 (19). Duplicate of Photo 965/1 (1c). Duplicate of Photo 965/1 (2). Duplicate of Photo 965/1 (20). Duplicate of Photo 965/1 (21). Duplicate of Photo 965/1 (22). Duplicate of Photo 965/1 (23). Duplicate of Photo 965/1 (24). Duplicate of Photo 965/1 (25). Duplicate of Photo 965/1 (26). Duplicate of Photo 965/1 (27). Duplicate of Photo 965/1 (28). Duplicate of Photo 965/1 (29). Duplicate of Photo 965/1 (3). Duplicate of Photo 965/1 (30). Duplicate of Photo 965/1 (31). Duplicate of Photo 965/1 (32). Duplicate of Photo 965/1 (33). Duplicate of Photo 965/1 (34). Duplicate of Photo 965/1 (35). Duplicate of Photo 965/1 (36). Duplicate of Photo 965/1 (37). Duplicate of Photo 965/1 (38). Duplicate of Photo 965/1 (39). Duplicate of Photo 965/1 (4). Duplicate of Photo 965/1 (40). Duplicate of Photo 965/1 (41). Duplicate of Photo 965/1 (42). Duplicate of Photo 965/1 (43). Duplicate of Photo 965/1 (44). Duplicate of Photo 965/1 (45). Duplicate of Photo 965/1 (46). Duplicate of Photo 965/1 (47). Duplicate of Photo 965/1 (48). Duplicate of Photo 965/1 (49). Duplicate of Photo 965/1 (5). Duplicate of Photo 965/1 (50). Duplicate of Photo 965/1 (51). Duplicate of Photo 965/1 (52). Duplicate of Photo 965/1 (53). Duplicate of Photo 965/1 (54). Duplicate of Photo 965/1 (55). Duplicate of Photo 965/1 (56). Duplicate of Photo 965/1 (57). Duplicate of Photo 965/1 (58). Duplicate of Photo 965/1 (59). Duplicate of Photo 965/1 (6). Duplicate of Photo 965/1 (60). Duplicate of Photo 965/1 (61). Duplicate of Photo 965/1 (62). Duplicate of Photo 965/1 (63). Duplicate of Photo 965/1 (64). Duplicate of Photo 965/1 (65). Duplicate of Photo 965/1 (66). Duplicate of Photo 965/1 (67). Duplicate of Photo 965/1 (68). Duplicate of Photo 965/1 (69). Duplicate of Photo 965/1 (7). Duplicate of Photo 965/1 (70). Duplicate of Photo 965/1 (71). Duplicate of Photo 965/1 (72). Duplicate of Photo 965/1 (73). Duplicate of Photo 965/1 (74). Duplicate of Photo 965/1 (75). Duplicate of Photo 965/1 (76). Duplicate of Photo 965/1 (77). Duplicate of Photo 965/1 (78). Duplicate of Photo 965/1 (79). Duplicate of Photo 965/1 (8). Duplicate of Photo 965/1 (80). Duplicate of Photo 965/1 (81). Duplicate of Photo 965/1 (82). Duplicate of Photo 965/1 (83). Duplicate of Photo 965/1 (84). Duplicate of Photo 965/1 (85). Duplicate of Photo 965/1 (86). Duplicate of Photo 965/1 (87). Duplicate of Photo 965/1 (88). Duplicate of Photo 965/1 (89). Duplicate of Photo 965/1 (9). Duplicate of Photo 965/1 (90). Duplicate of Photo 965/1 (91). Duplicate of Photo 965/1 (92). Duplicate of Photo 965/1 (94). Duplicate of Photo 965/1 (96). Duplicate of Photo 965/1 (97). Duplicate of Photo 965/1 (98). Duplicate of Photo 966/1 (10). Duplicate of Photo 966/1 (11). Duplicate of Photo 966/1 (12). Duplicate of Photo 966/1 (13). Duplicate of Photo 966/1 (14). Duplicate of Photo 966/1 (15). Duplicate of Photo 966/1 (16). Duplicate of Photo 966/1 (17). Duplicate of Photo 966/1 (18). Duplicate of Photo 966/1 (19). Duplicate of Photo 966/1 (2). Duplicate of Photo 966/1 (20). Duplicate of Photo 966/1 (21). Duplicate of Photo 966/1 (22). Duplicate of Photo 966/1 (23). Duplicate of Photo 966/1 (24). Duplicate of Photo 966/1 (25). Duplicate of Photo 966/1 (26). Duplicate of Photo 966/1 (27). Duplicate of Photo 966/1 (28). Duplicate of Photo 966/1 (29). Duplicate of Photo 966/1 (3). Duplicate of Photo 966/1 (30). Duplicate of Photo 966/1 (31). Duplicate of Photo 966/1 (32). Duplicate of Photo 966/1 (33). Duplicate of Photo 966/1 (34). Duplicate of Photo 966/1 (35). Duplicate of Photo 966/1 (36). Duplicate of Photo 966/1 (37). Duplicate of Photo 966/1 (38). Duplicate of Photo 966/1 (39). Duplicate of Photo 966/1 (4). Duplicate of Photo 966/1 (40). Duplicate of Photo 966/1 (41). Duplicate of Photo 966/1 (42). Duplicate of Photo 966/1 (43). Duplicate of Photo 966/1 (44). Duplicate of Photo 966/1 (45). Duplicate of Photo 966/1 (46). Duplicate of Photo 966/1 (47). Duplicate of Photo 966/1 (48). Duplicate of Photo 966/1 (49). Duplicate of Photo 966/1 (5). Duplicate of Photo 966/1 (50). Duplicate of Photo 966/1 (51). Duplicate of Photo 966/1 (52). Duplicate of Photo 966/1 (53). Duplicate of Photo 966/1 (54). Duplicate of Photo 966/1 (55). Duplicate of Photo 966/1 (56). Duplicate of Photo 966/1 (57). Duplicate of Photo 966/1 (58). Duplicate of Photo 966/1 (59). Duplicate of Photo 966/1 (6). Duplicate of Photo 966/1 (60). Duplicate of Photo 966/1 (61). Duplicate of Photo 966/1 (62). Duplicate of Photo 966/1 (63). Duplicate of Photo 966/1 (64). Duplicate of Photo 966/1 (65). Duplicate of Photo 966/1 (66). Duplicate of Photo 966/1 (67). Duplicate of Photo 966/1 (68). Duplicate of Photo 966/1 (69). Duplicate of Photo 966/1 (7). Duplicate of Photo 966/1 (70). Duplicate of Photo 966/1 (71). Duplicate of Photo 966/1 (72). Duplicate of Photo 966/1 (73). Duplicate of Photo 966/1 (74). Duplicate of Photo 966/1 (75). Duplicate of Photo 966/1 (76). Duplicate of Photo 966/1 (8). Duplicate of Photo 966/1 (9). Duplicate of Photo 967/1 (1). Duplicate of Photo 967/1 (10). Duplicate of Photo 967/1 (100). Duplicate of Photo 967/1 (101). Duplicate of Photo 967/1 (102). Duplicate of Photo 967/1 (103). Duplicate of Photo 967/1 (104). Duplicate of Photo 967/1 (105). Duplicate of Photo 967/1 (106). Duplicate of Photo 967/1 (107). Duplicate of Photo 967/1 (108). Duplicate of Photo 967/1 (109). Duplicate of Photo 967/1 (11). Duplicate of Photo 967/1 (110). Duplicate of Photo 967/1 (111). Duplicate of Photo 967/1 (112). Duplicate of Photo 967/1 (113). Duplicate of Photo 967/1 (114). Duplicate of Photo 967/1 (115). Duplicate of Photo 967/1 (116). Duplicate of Photo 967/1 (117). Duplicate of Photo 967/1 (118). Duplicate of Photo 967/1 (119). Duplicate of Photo 967/1 (12). Duplicate of Photo 967/1 (120). Duplicate of Photo 967/1 (13). Duplicate of Photo 967/1 (14). Duplicate of Photo 967/1 (15). Duplicate of Photo 967/1 (16). Duplicate of Photo 967/1 (17). Duplicate of Photo 967/1 (18). Duplicate of Photo 967/1 (19). Duplicate of Photo 967/1 (2). Duplicate of Photo 967/1 (20). Duplicate of Photo 967/1 (21). Duplicate of Photo 967/1 (22). Duplicate of Photo 967/1 (23). Duplicate of Photo 967/1 (24). Duplicate of Photo 967/1 (25). Duplicate of Photo 967/1 (26). Duplicate of Photo 967/1 (27). Duplicate of Photo 967/1 (28). Duplicate of Photo 967/1 (29). Duplicate of Photo 967/1 (3). Duplicate of Photo 967/1 (30). Duplicate of Photo 967/1 (31). Duplicate of Photo 967/1 (32). Duplicate of Photo 967/1 (33). Duplicate of Photo 967/1 (34). Duplicate of Photo 967/1 (35). Duplicate of Photo 967/1 (36). Duplicate of Photo 967/1 (37). Duplicate of Photo 967/1 (38). Duplicate of Photo 967/1 (39). Duplicate of Photo 967/1 (4). Duplicate of Photo 967/1 (40). Duplicate of Photo 967/1 (41). Duplicate of Photo 967/1 (42). Duplicate of Photo 967/1 (43). Duplicate of Photo 967/1 (44). Duplicate of Photo 967/1 (45). Duplicate of Photo 967/1 (46). Duplicate of Photo 967/1 (47). Duplicate of Photo 967/1 (48). Duplicate of Photo 967/1 (49). Duplicate of Photo 967/1 (5). Duplicate of Photo 967/1 (50). Duplicate of Photo 967/1 (51). Duplicate of Photo 967/1 (52). Duplicate of Photo 967/1 (53). Duplicate of Photo 967/1 (54). Duplicate of Photo 967/1 (55). Duplicate of Photo 967/1 (56). Duplicate of Photo 967/1 (57). Duplicate of Photo 967/1 (58). Duplicate of Photo 967/1 (59). Duplicate of Photo 967/1 (6). Duplicate of Photo 967/1 (60). Duplicate of Photo 967/1 (61). Duplicate of Photo 967/1 (62). Duplicate of Photo 967/1 (63). Duplicate of Photo 967/1 (64). Duplicate of Photo 967/1 (65). Duplicate of Photo 967/1 (66). Duplicate of Photo 967/1 (67). Duplicate of Photo 967/1 (68). Duplicate of Photo 967/1 (69). Duplicate of Photo 967/1 (7). Duplicate of Photo 967/1 (70). Duplicate of Photo 967/1 (71). Duplicate of Photo 967/1 (72). Duplicate of Photo 967/1 (73). Duplicate of Photo 967/1 (74). Duplicate of Photo 967/1 (75). Duplicate of Photo 967/1 (76). Duplicate of Photo 967/1 (77). Duplicate of Photo 967/1 (78). Duplicate of Photo 967/1 (79). Duplicate of Photo 967/1 (8). Duplicate of Photo 967/1 (80). Duplicate of Photo 967/1 (81). Duplicate of Photo 967/1 (82). Duplicate of Photo 967/1 (83). Duplicate of Photo 967/1 (84). Duplicate of Photo 967/1 (85). Duplicate of Photo 967/1 (86). Duplicate of Photo 967/1 (87). Duplicate of Photo 967/1 (88). Duplicate of Photo 967/1 (9). Duplicate of Photo 967/1 (90). Duplicate of Photo 967/1 (91). Duplicate of Photo 967/1 (92). Duplicate of Photo 967/1 (93). Duplicate of Photo 967/1 (94). Duplicate of Photo 967/1 (95). Duplicate of Photo 967/1 (96). Duplicate of Photo 967/1 (97). Duplicate of Photo 967/1 (98). Duplicate of Photo 967/1 (99). Duplicate of Photo 968/1 (1). Duplicate of Photo 968/1 (10). Duplicate of Photo 968/1 (11). Duplicate of Photo 968/1 (12). Duplicate of Photo 968/1 (13). Duplicate of Photo 968/1 (14). Duplicate of Photo 968/1 (15). Duplicate of Photo 968/1 (16). Duplicate of Photo 968/1 (17). Duplicate of Photo 968/1 (18). Duplicate of Photo 968/1 (19). Duplicate of Photo 968/1 (2). Duplicate of Photo 968/1 (20). Duplicate of Photo 968/1 (21). Duplicate of Photo 968/1 (22). Duplicate of Photo 968/1 (23). Duplicate of Photo 968/1 (24). Duplicate of Photo 968/1 (25). Duplicate of Photo 968/1 (26). Duplicate of Photo 968/1 (27). Duplicate of Photo 968/1 (28). Duplicate of Photo 968/1 (29). Duplicate of Photo 968/1 (3). Duplicate of Photo 968/1 (30). Duplicate of Photo 968/1 (31). Duplicate of Photo 968/1 (32). Duplicate of Photo 968/1 (33). Duplicate of Photo 968/1 (34). Duplicate of Photo 968/1 (35). Duplicate of Photo 968/1 (36). Duplicate of Photo 968/1 (37). Duplicate of Photo 968/1 (38). Duplicate of Photo 968/1 (39). Duplicate of Photo 968/1 (4). Duplicate of Photo 968/1 (40). Duplicate of Photo 968/1 (41). Duplicate of Photo 968/1 (42). Duplicate of Photo 968/1 (43). Duplicate of Photo 968/1 (44). Duplicate of Photo 968/1 (45). Duplicate of Photo 968/1 (5). Duplicate of Photo 968/1 (6). Duplicate of Photo 968/1 (7). Duplicate of Photo 968/1 (8). Duplicate of Photo 968/1 (9). Duplicate of print 1.[Albumen print, 104x128mm]. Duplicate of print 1. Duplicate of print 1. Duplicate of print 10. (?)Lightly albumenised salt print, 157x195mm. Duplicate of print 10. Duplicate of print 107. Duplicate of Print 109. Duplicate of print 11. Duplicate of print 113. Duplicate of Print 115. Duplicate of print 115. Duplicate of print 117. Duplicate of Print 117. Duplicate of print 119. Duplicate of print 12.[Albumen print, 239x168mm]. Duplicate of print 12. Salt print, 212 x 162 mm. Duplicate of print 12. Duplicate of print 1284. Duplicate of print 13, somewhat faded. Pencilled note on the reverse marks 'drying & sifting' and 'rolling & fermenting' areas of building. Duplicate of print 132. Duplicate of print 132. Duplicate of print 1352. This is the best print of 1352-1354. Duplicate of print 1355. Duplicate of print 14. Salt print from a wet collodion negative, 157x211mm. Duplicate of print 14. Duplicate of print 1421 Duplicate of print 146. With descriptive pencilled note on the reverse. Duplicate of print 15.[Silver printing-out paper, 108x154mm]. Duplicate of Print 15. Print copied from a book. Duplicate of print 15. Duplicate of print 15. Duplicate of print 151. Duplicate of print 158. Duplicate of print 16.[Silver printing-out paper, 107x154mm]. Duplicate of print 16.[Silver printing-out paper, 107x155mm]. Duplicate of print 16.[Silver printing-out paper, 108x156mm]. Duplicate of print 16.[Silver printing-out paper, 109x156mm]. Duplicate of print 16. Salt print from a wet collodion negative, 158x208mm. Duplicate of Print 16. Duplicate of Print 16. Duplicate of print 160. Additional copy at print 145 of this collection. Duplicate of print 164. Duplicate of print 17, but more tightly cropped.[Printing-out paper, 240x181mm]. Duplicate of print 17, somewhat faded. Duplicate of print 17. Duplicate of print 172. Duplicate of print 18. Duplicate of Print 185. Duplicate of print 19.[Albumen print, 228x175mm]. Duplicate of print 19. Duplicate of print 19. Duplicate of print 19. Duplicate of print 20.[Albumen print, 200x149mm]. Duplicate of print 20.[Gelatin silver print, 80x55mm]. Duplicate of print 20. Duplicate of Print 20. Duplicate of print 21.[Albumen print, 220x193mm]. Duplicate of print 21.[Gelatin silver print, 136x114mm]. Duplicate of print 21. Duplicate of print 23, but more tightly cropped.[Printing-out paper, 236x178mm]. Duplicate of print 23.[Gelatin silver print, 167x119mm]. Duplicate of print 23. Print folded down right-hand side.[Gelatin silver print, 178x182mm]. Duplicate of print 25.[Gelatin silver print, 176x120mm]. Duplicate of print 26, cropped slightly differently. Duplicate of print 26.[Gelatin silver print, 116x89mm]. Duplicate of Print 26. Duplicate of print 27. Duplicate of print 279.[Gelatin silver print, 157x193mm]. Duplicate of print 279.[Gelatin silver print, 160x193mm]. Duplicate of print 28.[Gelatin silver print, 114x89mm]. Duplicate of Print 28. Duplicate of print 282.[Gelatin silver print, 202x151mm]. Duplicate of print 282.[Gelatin silver print, 204x145mm]. Duplicate of print 2822. Duplicate of print 285.[Gelatin silver print, 202x144mm]. Duplicate of print 286.[Gelatin silver print, 205x128mm]. Duplicate of print 288.[Gelatin silver print, 193x137mm]. Duplicate of print 3. (?)Lightly albumenised salt print from a wet collodion negative, 154 x 206 mm. Duplicate of print 3. Duplicate of Print 3. Duplicate of Print 3. Duplicate of print 3. Duplicate of Print 3. Duplicate of print 3. The present print is a clearer image.[Silver printing-out paper, 206x151mm]. Duplicate of print 3097a. Duplicate of print 31.[Gelatin silver print, 163x120mm]. Duplicate of print 31 Duplicate of print 32. Duplicate of print 331.[Gelatin silver print, 200x154mm]. Duplicate of print 331.[Gelatin silver print, 206x158mm]. Duplicate of print 332.[Gelatin silver print, 203x155mm]. Duplicate of print 337.[Gelatin silver print, 208x159mm]. Duplicate of print 337.[Gelatin silver print, 210x153mm]. Duplicate of print 339.[Gelatin silver print, 136x200mm]. Duplicate of Print 34. Duplicate of Print 34. Duplicate of print 340.[Gelatin silver print, 141x202mm]. Duplicate of print 343.[Gelatin silver print, 200x149mm]. Duplicate of print 347.[Gelatin silver print, 156x193mm]. Duplicate of print 347.[Gelatin silver print, 160x198mm]. Duplicate of print 349.[Gelatin silver print, 203x151mm]. Duplicate of print 351.[Gelatin silver print, 188x141mm]. Duplicate of print 353.[Gelatin silver print, 203x142mm]. Duplicate of print 36.[Gelatin silver print, 114x88mm]. Duplicate of print 364D. Duplicate of Print 38. Duplicate of Print 39. Duplicate of Print 4. Duplicate of print 4. Duplicate of Print 4. Duplicate of print 4. The present print is a clearer image.[Silver printing-out paper, 212x155mm]. Duplicate of Print 40. Duplicate of print 422. Duplicate of print 44.[Gelatin silver print, 165x120mm]. Duplicate of Print 44. Duplicate of print 458.[Gelatin silver print, 159x212mm]. Duplicate of print 46, slightly enlarged. With pencilled note on reverse: 'Such groups of pagodas are scattered about the countryside, many of them are deserted, but new ones are constantly cropping up. This one, not far from Yuangshweh, is typical of them all.'[Gelatin silver print, 81x133mm]. Duplicate of print 463.[Gelatin silver print, 152x190mm]. Duplicate of print 5. Duplicate of print 5. The present print is a clearer image.[Silver printing-out paper, 210x155mm]. Duplicate of print 50.[Gelatin silver print, 115x88mm]. Duplicate of print 51.[Gelatin silver print, 178x107mm]. Duplicate of print 51. Duplicate of print 51. Duplicate of print 523. Duplicate of Print 56. Duplicate of print 56. Duplicate of print 5606. Duplicate of print 58. Duplicate of print 58. Duplicate of print 6, but more tightly cropped.[Printing-out paper, 186x248mm]. Duplicate of print 6. Duplicate of print 6. Duplicate of print 6. This print is a better image.[Silver printing-out paper, 215x156mm]. Duplicate of print 61. Duplicate of Print 61. Duplicate of Print 62. Duplicate of Print 63. Duplicate of print 65. Duplicate of Print 66. Duplicate of print 668, in better condition. Duplicate of Print 67. Duplicate of print 67. Duplicate of print 7. (?)Lightly albumenised salt print from a wet collodion negative, 158x208mm Duplicate of print 7. Duplicate of print 75. Poorish condition, with some chemical staining. Duplicate of print 78. Another copy at Photo 1000/8 (907). Duplicate of print 79.[Sepia toned print, 177x136mm]. Duplicate of print 8. Duplicate of print 8. Duplicate of Print 80. Duplicate of print 81.[Sepia toned print, 176x138mm]. Duplicate of print 83. Duplicate of print 84. Duplicate of print 87.[75x50mm]. Duplicate of print 90. Duplicate of print 91. Duplicate of print 96. Duplicate of prints 20-21.[Gelatin silver print, 80x55mm]. Duplicate of prints 23-24.[Sepia toned, 184x136mm]. Duplicate of prints 31-32.[Sepia toned, 177x139mm]. Duplicate of prints 31-33.[Gelatin silver print, 223x178mm]. Duplicate of prints 44-45.[Sepia toned print, 176x139mm]. Duplicate of prints 6 and 56.[Gelatin silver print, 209x157mm]. Duplicate of prints 7 an 57. The present print is a better image.[Silver printing-out paper, 209x156mm]. Duplicate of prints 7 and 55.[Gelatin silver print, 205x158mm]. Duplicate postcards. View of the elephant sculpture in Kailasanatha. Duplicates at Photo 2/6 (4) and Photo 10/18 (10). Duplicate view. Duplicate view. Durbar Hall in the Jai Vilas Palace, furnished in European style and with two massive chandeliers and a punkah hanging from the ceiling. Stereoscopic pair. During excavation. With large pit in foreground. Dutch residence near the beach. Early mosque built using masonry from local Jain and Hindu temples. Earthenware pilaster fragment. Earthquake damage to a building. Earthquake damage to the chapel. Earthquake damage to the spire of St Paul's. East Chalukya image of Kanyakumari, an epithet of Parvati. Eastern fa�ade of the Hawa Mahal from the street. East face of the base of the lamp-column. East face of the mosque. East face of the palace, showing the four elaborately carved wooden columns supporting the roof. The palace was burnt down in 1897. A very faded print. East fa�ade of the Hawa Mahal. East fa�ade of the Hawa Mahal from the Sireh Deori Bazaar. East fa�ade of the Taj Mahal. East gopura of the Ranganatha Temple. Duplicate (later printing) of Photo 1000 (2908). Another copy at Photo 212/1 (9). East gopura of the Ranganatha Temple. Duplicate (later printing) of Photo 1000 (2909). Another copy at Photo 212/1 (10). Edward VII Memorial in right foreground[Platinum print.] Eight postcard views of buildings and scenes in Calcutta. Eight prints, showing buildings on Rajagiri Hill, Gingee Fort; views of granary, ramparts, audience chamber (exterior and interior), and views from summit. Eight prints, showing various views of Bellary Fort, including Town Gate, stone pathway up to the Citadel, entrance to inner Citadel. EIR bridge in the distance. Elaborately bound album containing 28 uncaptioned prints, the majority (possibly all) showing views of the Kaliyadeh Mahal at Ujjain. Elaborately decorated arched gateway surmounted by a Nandi. Elephants with howdahs approaching the Rupmati Mahal. Elevated view looking across temple site.[Albumen print, 227x168mm]. Elliot (Madras) no. 100, Knox (1992) no. 15. Elliot (Madras) no. 104, Knox (1992) no. 42. Elliot (Madras) no. 116, Knox (1992) no. 68. Elliot (Madras) no. 12, Knox (1992) no.53; Elliot (Madras) no. 99, Knox (1992) no.51; Elliot (Madras) no. 75, Knox (1992) no.41. Elliot (Madras) no. 120, Knox (1992) no. 74. Elliot (Madras) no. 122, Knox (1992) no. 61. Elliot (Madras) no. 128, Knox (1992) no. 77. Elliot (Madras) no. 130, Knox (1992) no. 5. Elliot (Madras) no. 132, Knox (1992) no. 11. Elliot (Madras) no. 133, Knox (1992) no. 11. Elliot (Madras) no. 134, Knox (1992) no. 14. Elliot (Madras) no. 138, Knox (1992) no. 12. Elliot (Madras) no. 14, Knox (1992) no.58; Elliot (Madras) no. 95, Knox (1992) no.116; Elliot (Madras) no. 102, Knox (1992) no.64. Elliot (Madras) no. 140, Knox (1992) no. 13. Elliot (Madras) no. 15, Knox (1992) no.86; Elliot (Madras) no. 16, Knox (1992) no.85; Elliot (Madras) no. 10, Knox (1992) no.83. Elliot (Madras) no. 17, Knox (1992) no.10. Elliot (Madras) no. 18, Knox (1992) no.8 (lower portion). Elliot (Madras) no. 18, Knox (1992) no.8 (upper portion). Elliot (Madras) no. 19, Knox (1992) no.78. Elliot (Madras) no. 2, Knox (1992) no.62. Elliot (Madras) no. 20, Knox (1992) no.73. Elliot (Madras) no. 21, Knox (1992) no.63. Elliot (Madras) no. 22, Knox (1992) no.71. Elliot (Madras) no. 23, Knox (1992) no. 125. Elliot (Madras) no. 23, Knox (1992) no. 9. Elliot (Madras) no. 27, Knox (1992) no.36. Elliot (Madras) no. 28, Knox (1992) no.36. Elliot (Madras) no. 3, Knox (1992) no.124. Elliot (Madras) no. 30, Knox (1992) no. 39. Elliot (Madras) no. 32, Knox (1992) no. 6. Elliot (Madras) no. 34, Knox (1992) no. 25. Inner face. Elliot (Madras) no. 35, Knox (1992) no. 26. Inner face. Elliot (Madras) no. 39, Knox (1992) no. 1. Elliot (Madras) no. 40, Knox (1992) no. 2. Elliot (Madras) no. 92, Knox (1992) no. 50; Elliot (Madras) no. 116, Knox (1992) no. 68; Elliot (Madras) no. 127, Knox (1992) no. 76. An additional piece placed on top of no. 92 is marked as Elliot (Madras) no. 37, which Knox (1992) lists as no. 88. It does not, however, appear to be the same piece. Engraving of interior. Enlarged copy (cropped differently) of print 31. Enlarged copy of print 4.[Gelatin silver print, 190x244mm]. Enlarged duplicate of print 1276. Enlarged duplicate of print 331.[Gelatin silver print, 263x194mm]. Enlarged duplicate of print 337.[Gelatin silver print, 264x181mm]. Enlarged duplicate of print 339.[Gelatin silver print, 170x258mm]. Enlarged duplicate of print 340.[Gelatin silver print, 180x284mm]. Enlarged duplicate of print 39.[Gelatin silver print, 224x177mm]. Enlarged duplicate of print 41.[Gelatin silver print, 173x219mm]. Enlarged duplicate of print 48.[Gelatin silver print, 223x176mm]. Enlarged duplicate of print 52.[Gelatin silver print, 219x170mm]. Enlarged duplicate of print 55.[Gelatin silver print, 163x120mm]. Enlarged duplicate of print 58.[Gelatin silver print, 166x214mm]. Enlarged duplicate of print 60. One or other of the two photographs has been printed in reverse.[Gelatin silver print, 173x217mm]. Enlarged duplicate of print 74. Enlarged duplicate of prints 28 and 29.[Gelatin silver print, 216x171mm]. Enlarged duplicate of prints 36-37.[Gelatin silver print, 216x168mm]. Enlarged duplicate of prints 46-7.[Gelatin silver print, 120x161mm]. Enlarged duplicate of prints 55-56.[Sepia toned print, 176x137mm]. Entrance (trabeate) with carved architraves. Print in poor condition. Entrance and surrounding wall of the Kalan Masjid. Entrance doorway, flanked by two massive carved lions. Entrance gateway, with shopkeepers posed in foreground. Entrance gateway. Entrance gateway. Entrance gateway (?). Entrance gateway arch in Italian Renaissance style. Entrance gateway flanked by chinthes. Photograph also used as plate 2 in F.O. Oertel, Notes of a Tour in Burma in March and April 1892 (Rangoon, 1893). Entrance gateway from the exterior. Entrance gateway from the garden. Entrance gateway to the temple. Entrance gopura of the Vitthala Temple with lamp column in right foreground. Duplicate (later printing) of Photo 1000 (3156). Another copy at Photo 212/7 (18). Entrance portico of the Vaidyanatha Temple at Baijnath. Entrance steps, guardstones and standing pillars of the relic temple before restoration. This photograph is reproduced in James G. Smther, 'Architectural Remains, Anuradhapura, Ceylon' (London, 1894, plate 54). The original, incorrect caption reading 'The Shrine of the sacred Bo-tree' has been crossed out.[Albumen print, signed 'Lawton' in the negative, 279x201mm]. Entrance steps of unidentified temple, with spire beyond.[74x100mm]. Entrance to Adhai-din-ka-Jhonpra Mosque. Entrance to caravanserai. Entrance to cave, with carved figures of lions in foreground.[Gelatin silver print, 57x79mm]. Entrance to house, with wall painting on main fa�ade. The composition includes elephants, warriors on horseback, a field gun and an aeroplane. Entrance to Kailasanatha Cave. Entrance to Kailasanatha Cave from a higher vantage point. Entrance to mundapum, with carved figures flanking the steps. Entrance to one of the Buddhist caves at Dhamnar. Entrance to step-well. Entrance to temple, continuation of print 74. Again, incorrectly captioned. Photo 1000 (1046) is a cropped copy of this print. Entrance to temple, surmounted by great stone bull. Entrance to temple. Negative only, no print. Entrance to temple. Entrance to the citadel. Entrance to the garden of Zebunnissa Begum, daughter of Aurungzeb. Entrance to the Mahabodhi Temple. Entrance to unidentified cave. Entrance with carved wooden pillars, looking towards interior beyond. Equestrian statue of Sir Harcourt Butler in front of the High Court, Rangoon.[Gelatin silver print, 125x75mm]. Erected in 1405 from the remains of Jain temples, this mosque takes its name from an iron pillar (lat) which lies outside. Erected in 1868. European and Indian figure standing in front of the overgrown ruins of an unidentified building, possibly a fort, European family at the back of the house. The location is uncertain; there is a Jafarabad in Gujarat and a fort of that name at Mercara (Madikeri) in Karnataka in which there is a Commissioner's house. European family outside the front of the house. The location is uncertain; there is a Jafarabad in Gujarat and a fort of that name at Mercara (Madikeri) in Karnataka in which there is a Commissioner's house. European group inside the open-sided wooden zayat or rest house at Ta Hsang Le. Duplicate of Photo 92/2 (20), whose caption reads: 'It has an interior area of seventy-five feet by twenty-four and is capable of housing a company of infantry'. This is a quotation from the entry on Ta Hsang Le in Scott's Gazetteer. European group standing among ruins, identified beneath print as [Percy Molesworth] Sykes, Sir A. Hardinge, Churchill, Castaigne.[Platinum print, 101x78mm]. European group with Chinese servants posed on the vernadah of 7 Des Voeux Villas. The three Europeans are identified as D. Wood, L. Gibbs, C.H. Gale.[Albumen print, 278x213mm]. European man (Curry) standing beside the pillars incorporated in the screen of the Quwwat-ul-Islam Mosque at the Qutb Minar. European mansion in oriental style. Carte de visite size print. Exact location is uncertain. A duplicate at Photo 254 (46) describes it as the Machhi Bhavan, but it could alternatively be a damaged area of the Chattar Manzil palaces. Both possibilities are described in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. See Introduction for notes on the negatives. Excavated trench in foreground, with base of Qutb Minar visible beyond. Excavations in foreground, with the Nirvana Temple beyond. Excavation work in progress. Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Exhibited Canadian Centre for Architecture, Montreal, Traces of India: Photography. , Architecture, and the Politics of Representation 1850-1900, 14 May- 28 September 2003. Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Exhibited Victoria and Albert Museum, London, The Arts of the Sikh Kingdoms, 25 March - 25 July 1999. Mounted and stored separately in Box 394 at Shelf 62K. Exterior colonnade. Exterior distant view of the Naval Arsenal from across the Golden Horn. The Admiralty and the Naval Hospital buildings in the foreground. Print with overall spotting (similar to print 11 and 10).[Albumen print 305x367mm]. Exterior fa�ade, showing tilework decoration.[Albumen print, 381x304mm]. Exterior of building from St James's park, Clive memorial at right. Exterior of cave temple. Poor quality snapshot. Exterior of cave temple. Poor quality snapshot. Exterior of chaitya hall. Exterior of Portuguese church at Syriam. This photograph also appears as plate 31 of F.O. Oertel's Notes on a Tour in Burma in March and April 1892 (Rangoon, 1893). Exterior of the Admiralty, in Kasimpasa, photographed from the sea (print with overall spotting).[Albumen print, 250x323mm]. Exterior of the Baillie Guard Gate, from the east.[Albumen print, signed 'Sach� 179' in the negative, 288x227mm]. Exterior of tiled house. The whitewashed wall is decorated with the painted figure of a man holding two horses by the reins. Negative only, no print. Exterior side view of the entrance of the Mahmoudi� Middle School, photographed from a narrow street. A carriage in the centre background.[Albumen print, 387x310mm]. Exterior staircase and wall behind. Exterior view, looking towards domes. Print in poorish condition, with overall spotting.[Albumen print, 306x365mm]. Exterior view, showing the buildings over the well. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 56: '...an old step-well built in the Muhammadan style. It first descends a certain distance, then turns at right angles and continues down to the main shaft. Cross beams at different levels, supported upon the pilasters in the walls, divide the depth into storeys, increasing in number as the passage descends. There are no free-standing pillars.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1317). Exterior view, showing the buildings over the well. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 56: '...an old step-well built in the Muhammadan style. It first descends a certain distance, then turns at right angles and continues down to the main shaft. Cross beams at different levels, supported upon the pilasters in the walls, divide the depth into storeys, increasing in number as the passage descends. There are no free-standing pillars.' Exterior view, similar to print 10, but in portrait format. Exterior view, with railway track in foreground. Print in poorish condition, with overall spotting.[Albumen print, 375x308mm]. Exterior view. Exterior view and entrance of the Imperial School for the Mute.[Albumen print, 328x253mm]. Exterior view of buildings.[100x73mm]. Exterior view of entrance and marble latticework screen enclosing tomb.[Silver printing-out paper, 149x104mm]. Exterior view of fa�ade of durbar hall, showing rich plasterwork decoration in spandrels between massive cusped arches. Exterior view of fort walls (from the dry moat bed?) at Gohad, about 24 miles north-east of Gwalior. India Museum no. 890. Duplicate of Photo 1000 (3395). Exterior view of gateway. Exterior view of house. Exterior view of Indra Sabha cave temple. Exterior view of perimeter wall, with gopura at left. Exterior view of restored portions of Quwwat-ul-Islam Mosque. Exterior view of Robert Chisholm's Indo-Saracenic Baroda College buildings. The massive dome of the central convocation hall is based on the Gol Gumbaz at Bijapur. Exterior view of studio buildings.[Printing-out paper, 320x260mm]. Exterior view of temple walls and gopura, with tank in foreground. Exterior view of the Admiralty, in Kasimpasa, from the sea (similar to print 4).[Albumen print, 248x319mm]. Exterior view of the Buddhist rock-cut structure known as Bhim's Bazar, a combined vihara and chaitya hall. Exterior view of the building on a hill, photographed from the Golden Horn (print with slight spotting). [Albumen print, 249x322mm]. Exterior view of the enclosing brick wall, with corner pavilions and entrance gateway in the style of Indian chhatris. Exterior view of the entrance gateway, from the south-east. Exterior view of the Ganesh Pol. Photographed by Colin Murray for Bourne & Shepherd and used as plate XXX in James Burgess, Photographs of Architecture and Scenery in Gujarat and Rajputana (Bourne and Shepherd, 1874). Exterior view of the great gateway of the mosque, looking up from below.[Silver printing-out paper, 206x150mm]. Exterior view of the Hall of a Thousand Pillars in the Ranganatha Temple. Duplicate (later printing) of Photo 1000 (2907). Another copy at Photo 212/1 (8). Exterior view of the Kalyanamandapa of the Varadaraja Temple. Exterior view of the medical school, photographed from across the street.[Albumen print, 302x382mm]. Exterior view of the octagonal domed tomb of Sultan Suleyman I (The Magnificent), with graveyard in the foreground).[Albumen print, 312x377mm]. Exterior view of the right side of the school, from across the courtyard.[Albumen print, 303x379mm]. Exterior view of the school with students, in uniforms, standing in the courtyard. [Albumen print, 302x380mm]. Exterior view of the tomb of Iltutmish or Altamsh. Exterior view of the tower.[Lantern slide, 75X75 mm]. Exterior view of tomb. From east. Exterior view of tomb from the south-east.[Lantern slide, 75X75 mm]. Exterior wall of house with paintings of various subjects. Facade and flagstaff. Facade from the grounds. Facade from the grounds. Facade from the grounds. Facade of mahal. Facade of mosque. Facade of one of the Golden Pavilions. From north-west. Facade of Patwon-Ki-Haveli with men standing at various windows. Facade of Shaikh Salim Chishti's tomb. Facade of the cathedral.[Albumen print, 200x251mm]. Facade of the Jaganatha Sabha. Facade of the Sheesh Mahal on the south-east corner of the Rup Sagar tank. Built in 1725. Duplicate at Photo 430/27 (43). Facsimile of inscription in Archaeological Survey Report, vol. III, pl. xlv. Faded. Signed J.J. in the negative. Duplicate of print 93. Another copy at Photo 1000/6 (704). Faded and chemically-stained print. General view of excavated area. Faded and chemically stained print. General view of stupa group. Faded and chemically stained print. Stupas in excavated trench. Faded and chemically stained print. Faded and dirty print mounted on card numbered '133'. General view from the south-east of the mausoleum of Sher Shah Suri (1540-1545), standing on a stepped square plinth overlooking a tank. Faded and indistinct print, looking along garden towards buildings. Faded and yellowed print. Faded and yellowed print. Faded and yellowed print. Faded and yellowed print. Faded and yellowed print. View along drty stream bed. Faded and yellowed print. View along dry stream bed. Faded and yellowing print.[Printing-out paper, 112x150mm]. Faded print, similar viewpoint to print 46. Faded print.[Albumen print, 204x158mm]. Faded print. Closer view of excavated stupa. Faded print. Close view of doorway and elaborately carved wooden surrounds. The surrounding brickwork appears to have been recently restored. Faded print. Close view of doorway showing sculptured surrounds. Faded print. Close view of lamp stand. Faded print. Close view of niche. Faded print. Close view of niche with figure of Ganesha. Faded print. Close view of relief on plinth. Faded print. Close view of relief sculpture in niche. Faded print. Close view of sculpture panel with seated figure.. Faded print. Close view of sculpture slab. Faded print. Close view of square panel with sculptures. Faded print. Duplicate of print 439, which is in better condition. Left-hand section of two-part panoramic view, continued in print 445. Faded print. Exterior view of mandapa. Faded print. From west. Faded print. General view, looking towards the entrance of the cave temple. Not duplicated in India Office Series. India Museum No. 532a. Faded print. General view, with Dhamkh Stupa in background. Faded print. General view. Faded print. General view. Faded print. General view. Faded print. General view. Faded print. General view. Faded print. General view. Faded print. General view across citadel. Faded print. General view across excavated area. Faded print. General view from the garden. Faded print. General view looking across excavated area. Faded print. General view looking across the river towards the temple. India Museum no. 537(c). Not duplicated in India Office Series. Faded print. General view looking towards shikara. Faded print. General view looking towards the stupa, with a ramp of earth buiult up along the near side, presumably to facilitate access for repair work. See also prints 347 and 348. Faded print. General view of excavated area. Faded print. General view of part of site. Faded print. General view of remains, with octagonal building at top of mound. This was built in 1588 to celebrate the visit of the Mughal Emperor Humayun to the site. Faded print. General view of ruined temple. Faded print.General view of ruins. Faded print. General view of sanctuary tower. Faded print. General view of Shah Nawaz Khan's Tomb. Faded print. General view of site. Faded print. General view of temple. Faded print. General view of temples. Faded print. General view of the ablution tank and lamp stand. Faded print. General view of the remains of the stupa base. Faded print. General view of the stone bridge. Faded print. General view of the two temples. Faded print. India Museum no. 505(b). Duplicate of Photo 1000 (2392). Faded print. Khan-i-Kirgan is about 100 miles north of Shiraz. Faded print. Faded print. Oblique view of temple doorway and south fa�ade of temple. Faded print. Photographic copy of an architectural drawing of the end elevation of the building, signed by Henry Cousens. Faded print. Photographic copy of an architectural drawing of the side elevation of the building, signed by Henry Cousens. Faded print. Probably a view at Darjiling where Nightingale was posted. His name is one of several attached to the garden fence. Faded print. Sculpture panel of tirthankaras in niche. Faded print. Sculpture slab with seated figure of Brahma. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Three sculpture slabs of Hindu deities. Faded print. View from roof level overlooking the temple complex. Faded print. View looking across the causeway towards the entrance to the tomb. 'Upon the upper side of Bukkur, and joined to it at low water, is the compact little island upon which, under the cool shade of some large trees, is the famous shrine of Zinda or 'Jind' Pir. The island has been raised and protected against the corrosion of the river by retaining walls of strong rubble masonry all around. The great gateway facing Rohri is a far more imposing structure than the mean little domed shrine itself. The latter occupies the centre of the island, and is a remarkable plain small square building surmounted by a low dome...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, p. 8). Faded print. View looking down into the step-well. Faded print. View looking into excavated trench. Faded print. View looking towards cave entrances. Faded print. View looking towards entrance of pagoda built into hillside. Faded print. View looking towards temple, the building largely obscured by the collection of sculpture pieces propped against the wall in the foreground. Faded print. View of a row of small brick stupas. Faded print. View of carved fa�ade of unfinished gopura of the Ramalingeshvara Temple. Faded print. View of cluster of rock-cut temple shikaras. Faded print. View of entrance gateway of Wazir Khan's Mosque. Faded print. View of excavated stupas. Faded print. View of line of sculptured columns. Faded print. View of remains of stupa base. Faded print. View of ruined citadel walls. Faded print. View of stupa group. Faded print. View of the hunting lodge, an octagonal pavilion in the centre of tank, with a causeway running to bank. Faded print. View of trench, with diggers at work. Faded snapshot view of bungalow. Fading and yellowed print. Cunningham in his account of Lalitpur (ASR vol. XXI, pp. 175-6) refers to this building as a masjid, or 'perhaps, it is part of a Hindu temple, only slightly altered', under the name of Basa, and later visitors echoed this description. However, the lack of a mihrab in the western wall would appear to disqualify it for this function and H. Hargreaves (Superintendent, Hindu and Buddhist Monuments, Northern Circle), in his report for 1916, states that 'local tradition considers it to have been an octroi office.' Family group posed on verandah of bungalow. Family home of the Wilberforce-Bell's. Fa�ade of entrance to the Buddhist Visvakarma cave temple. Fa�ade of large stone and timber building, with wooden balconies. Fa�ade of the entrance to the shrine in the north-west corner of the temple complex, dedicated to Ganga, Yamuna, and Sarasvati. Reproduced as woodcut in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), p. 34. Photo 1000/8 (891) is a platinum print from the same negative. Fa�ade of the Horse Mandapa. Albumen print, 368 x 266 mm. Fa�ade of the Pudu Mandapa facing the Minakshi Sundareshvara Temple. Duplicate (later printing) of Photo 1000 (2936). Another copy at Photo 212/1 (37). Fa�ade of the Pudu Mandapa facing the Minakshi Sundareshvara Temple. Received from Captain Lyon, 5th May 1871. India Museum no. 1176. Duplicate at Photo 212/1 (37). Female figure, with small Ganesha image at right. Duplicate (later printing) of Photo 1000 (2950). Another copy at Photo 212/2 (10). Female figure. Female figure facing the male figure in print 2945. Duplicate (later printing) of Photo 1000 (2946). Another copy at Photo 212/2 (6). Female figures on pillar (from a stupa?). Figurative sculptures carved in relief. From north. Figure in workshop.[Gelatin silver print, 84x140mm]. Figure of Annapurna (Parvati). Figure of a reclining Buddha in a pagoda. Figure of Ganesha eating laddus, on the left wall of the verandah. Figure of Ganesha in niche. Figure of Indra. Figure of Mahishasuramardini (Durga), slaying the buffalo demon. Figure of Parvati seated in background. Duplicate (later printing) of Photo 1000 (2932). Another copy at Photo 212/1 (33). Figure of standing Buddha in niche. Figure of Vishnu (?). Figure of Vishnu in Eastern Gallery, holding large club and disk. Figures carved in relief. Figure seated on steps at entrance to building.[Gelatin silver print, 55x79mm]. Figures of Eyre Coote, Cornwallis, Wellesley and Wellington. Figures on the terrace named as: 'Sir F. Abbott, Miss Abbott, Lady Abbott, A. Elliott'. Better print at Photo 42 (114). Figure standing in front of guns which are placed in front of the British barracks in the fort. Shankat-ul-mulk was the Governor of Persian Seistan. Small snapshot. Finely carved pillars in Jalakanteshvara temple. Five prints, four showing various aspects of the tower of the Brihadishvara Temple, one view of steps at side of tank. Five prints, interior views of sitting room and dining room. Five snapshots, not individually captioned. Five views.[Silver printing-out paper]. Floral display around the statue of Warren Hastings. For a more distant view of the same location, see print 104. For an earlier view (early 1880s) taken from an almost identical viewpoint, see Photo 1000(1413).[?Matt collodion printing-out paper, 281x206mm]. For a note on the term 'bhadraka', see print 227. For a note on the use of the term 'bhadraka', see print 227. For a note on the use of the term 'bhadraka', see print 227. For another copy, see India Office Series, Photo 1000/4(465). For another copy, see India Office Series, Photo 1000/4(468). For another copy, see India Office Series, Photo 1000/4(469). For another copy, see India Office Series, Photo 1000/4(473). For another copy, see India Office Series, Photo 1000/4(476). For another copy, see India Office Series, Photo 1000/4(481).Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. For another copy, see India Office Series, Photo 1000/4(489). For another copy, see India Office Series, Photo 1000/5 (493). For another copy, see India Office Series, Photo 1000/5 (494). For another copy, see India Office Series, Photo 1000/5 (497). For another copy, see India Office Series, Photo 1000/5 (500). For another copy, see India Office Series, Photo 1000/5 (506). For another copy, see India Office Series, Photo 1000/5 (514). For another copy, see India Office Series, Photo 1000/5 (518). For another copy, see India Office Series, Photo 1000/5 (519). For another copy, see India Office Series, Photo 1000/5 (521). For another copy, see India Office Series, Photo 1000/5 (522). For another copy, see India Office Series, Photo 1000/5 (523). For another copy, see India Office Series, Photo 1000/5 (524). For another copy, see India Office Series, Photo 1000/5 (525). For another copy, see India Office Series, Photo 1000/5 (526). For another copy, see India Office Series, Photo 1000/5 (527). For another copy, see India Office Series, Photo 1000/5 (528). For another copy, see India Office Series, Photo 1000/5 (529). For another copy, see India Office Series, Photo 1000/5 (533). For another copy, see India Office Series, Photo 1000/5 (534). For another copy, see India Office Series, Photo 1000/5 (535). For another copy, see India Office Series, Photo 1000/5 (536). For another copy of this photograph in better condition (a later printing), see Photo 199 (36). For another copy of this print, in somewhat faded condition, see Photo 1000 (2296a).[Albumen print, 348x234mm]. For another copy of this print, photographed by James Mulheran, see Photo 993 (1). For another copy of this print (in brighter condition), see Photo 120 (6). For a variant print (almost identical apart from the fall of shadows), see Photo 1000 (1991). India Museum no. 859. Duplicate of Photo 1000 (3366). For a view of both temples after restoration, see Alexander Cunningham, Mahabodhi or the Great Buddhist Temple under the Bodhi Tree at Buddha-Gaya (London, 1892), pl. xvi.Duplicate of Photo 1002 (54). For detailed description, see Henry Cousens, The Chalukyan architecture of the Kanarese Districts ( ASI, new Imperial series, vol. XLII, Calcutta, 1926), pp. 61-66. Formerly Chepauk Palace until taken over by the Government of Madras. For other photographs of this sculpture, taken at various periods, see Photo 1000/28(2851), Photo 1002/4(210), Photo 1005/4(1345). Fortified frontier post in winter. Fortress in foreground, with distant view eastwards of the Himalayas. Photograph taken during the abortive 1903 mission. Duplicate at Photo 430/53 (6). Fort walls, with moat in foreground. Duplicate of Photo 1008/9 (2281).[Gelatin printing-out paper, 214x150mm]. Foundations and wall of unidentified building, presumably British. Fountain built in 1862-3. The letterpress descriptions of Prints 32-35 are all on a single page between Prints 31 & 32. Fountain slab, with decorative work in shallow relief. Fountain slab, with decorative work in shallow relief. Fountain slab, with inscription and decorative work in shallow relief. Fountain slab decorated with shallow relief carving. Fountain slabs with carved panels. Fountain slab with banded friezes. Fountain slab with carved decoration, photographed in situ. Fountain slab with gargoyle spout. Fountain slab with panels carved in relief. Fountain slab with relief carving. Four free-standing pillars carved with floral carvings (indistinct in this print). These were apparently intended for incorporation in gopuras which were never built. Four prints, showing ruined mandapum and small open-sided pavilion. Four sculptured slabs arranged beneath a tree, listed by Bloch as 'Aditya, two female deities, top-piece of sculpture.' Four-sided statue of the seated Buddha, here seen in much overgrown condition, with on of the faces lying on the ground in the foreground. A group of Burmese man are posed in attitudes of prayer in front of the statue. The photograph also appears as the frontispiece to volume I of H.R. Spearman's 'The British Burma Gazetteer' (2 vols, Rangoon, 1879-80). Second copy negative at B.25608. Four small snapshots.[Gelatin silver prints]. Four snapshots of architectural subjects: the Residency, Banqueting Hall, Great Imambara.[Gelatin silver prints, 100x72mm]. Fragment carved with representation of a stupa. Fragment of a carved panel. Fragment of a panel. Fragment of arcade with flying spirits. Fragment of arcade with various figures, including a seated Buddha. Fragment of doorjamb. Fragment of drum slab: Elliot (Madras) no. 121, Knox (1992) no. 80; fragment of rail pillar: Elliot (Madras) no. 68, Knox (1992) no. 7; fragment of dome slab: Elliot (Madras) no. 66, Knox (1992) no. 93. Fragment of frieze. Fragment of panel with relief csrving of maiden. Fragment of pillar is reproduced in James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. x, part of 2. Duplicate (later printing) of Photo 1000 (2122). Fragment of sculpture from a Buddhist railing pillar. Reproduced as a lithograph in A. Cunningham, Report of a tour in Eastern Rajputana in 1882-83 (A.S.I. vol. XX, Calcutta, 1885), pl. iii, and described p. 50. Fragment of sculpture panel. Fragments from two tablets. Fragment showing a standing Buddha figure (headless) with attendants. Fragments of fountain slabs, with decorative work in shallow relief. Fragments of frieze with scenes from the Buddha's life. Fragments of railing coping: Elliot (Madras) no. 64, Knox (1992) no. 35, Elliot (Madras) no. 108, Knox (1992) no. 33; pillar fragment: Elliot (Madras) no. 54, Knox (1992) no. 112; fragment of drum slab: Elliot (Madras) no. 76, Knox (1992) no. 67. Fragments of relief carvings at site. Fragment with figure carved in deep relief. Fragment with relief carving. Fragment with relief carving. Fragment with relief carving of seated figure. Free-standing carved pillar. Free-standing octagonal pavilion in semi-ruined condition. Free-standing sculpture piece. Freight truck drawn up beside the chute from the factory. Frescoes of saints to the left of the entry to the Parecclesion, Kariye Mosque, Istanbul.[Albumen print, 373x308mm]. Fresco of two figures with garland. (I.A. Map 30, B2). Frieze of dancers. From a similar viewpoint to print 17. Unsigned, but probably by Klier. From below, looking up towards ramparts. From Bhubaneshwar? Faded print. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. From east. Very faded print. From east. Very faded print. From nave, looking towards choir and altar. From north. A different structure from 2803. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. From north. Very faded print. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. From north-east. This is not the Chaunsath Khamba at Nizamuddin. From north-east. Very faded print. From north-east From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From North-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. Very faded print. From north-west From site 1, reg. no. 437. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. From south. This print was missplaced at 2734. From south. Very faded print. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. From south-east. Very faded print. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west. From south-west From south-west From south-west From the strand. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. From west. Frontier Circle, No.2394. Frontier Circle, No.2395. Frontier Circle, No.2399. Frontier Circle, No.2661. Frontier Circle, No.2663. Frontier Circle, No.4098 A. Front screen of the Diwan-i-Am in the right foreground, with the triple domes of the Moti Masjid visible in the background. Various pieces of military ordnance - barrels of cannons, mortars, etc. - are laid out on the open ground in front of the Diwan-i-Am. Front view of blind gateway. Front view of gateway, with entrance arch bricked up. Front view of headless sculpture standing on circular base. Front view of temple. Captioned and numbered in the negative. Credited to Beglar in Bloch's list, but in fact part of the Cousens series of numbered views. Another copy of this print at Photo 1002 (1325). Front view of the Nrising Dev Palace or Govind Mandir. Front view of the palace of the Raja of Ramnad. Duplicate (later printing) of Photo 1000 (3013). Another copy at Photo 212/3 (34). Full-length marble statue of Sarfoji, Raja of Tanjore 1711-29, by John Flaxman. Duplicate at Photo 1008/10 (4G).[151x203mm]. Full-length sculpture of one of the guardian figures which stand on either side of the doorway of the outer antechamber. Reproduced as a text illustration in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 136. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1339). Full-length sculpture of one of the guardian figures which stand on either side of the doorway of the outer antechamber. Reproduced as a text illustration in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 136. Full-length seated studio portrait of Sir Salar Jang (1829-1883), Prime Minister of Hyderabad 1853-83. He is portrayed seated beside a cabinet containing a set of 'Encyclopedia Britannica'. Another copy at OIOC Photo 27 (30).[Albumen print, 176x230mm]. Full-length standing Bodhisattva. Full-length standing Buddha figure. Full-length standing figure. Full-length standing figure in niche. Full-length standing group portrait of the staff and students. The headmaster, Tayyar Pasha is standing in front of a group of students, on the shore. The student and staff are photographed, in uniforms, in front of the Naval Academy in Heybeliada from the sea.[Albumen print, 308x382mm]. Full-length standing group portrait of the students and the headmaster. Students and headmaster (probably Tayyar Pasha), in naval uniforms, standing in front of the inner gate of the Academy.[Albumen print, 307x382mm]. Full-length standing group portrait of the students and the headmaster. The students and the headmaster (probably Tayyar Pasha), in naval uniforms, standing on the harbour in front of the academy (print with overall spotting). [Albumen print, 302x377mm]. Full-length standing image. Full-length standing sculpture of a Jain tirthankara. Full-length statue of Sivaji, Raja of Tanjore, by Flaxman. Full view looking along the interior of the dormitory. [Albumen print, 308x383mm]. Furnished in European style. Caption notes read: 'The entire right wing of the palace consists of a spacious hall, lofty, and well-lighted by bay-windows. The design and construction are modern, as also the furniture and hangings. It is here that the Maharaja holds his durbars, and receives distinguished visitors, when in Bangalore.' Furnished in European style. Furnished in European style. Further annotations read: 'Police Training School, Punjab (the Fort played an important part in the Indian Mutiny 1857). [Property of A.A. McKean]'. Gajalakshmi panel at entrance to Kailasanatha cave temple. Ganesha image in niche, with inscriptions on wall on either side. Gate at extreme left, with bastion in the foreground. Gateway. Gateway and arched entrance passage. Gateway and buildings in foreground, with hill fort beyond. Gateway at left, tomb and mosque in centre and bridge at right. Gateway at right. Gateway at south-west corner of Sherpur Cantonment. Gateway at the base of the gopura of the Jalakanteshvara Temple. Gateway in centre of southern wall of cantonment. Gateway in foreground, with walls of fort in distance beyond. Gateway in the fort. Gateway into the garden of Itimad-ud-daulah's tomb. Gateway is all that remains of an old mosque. Gateway itself is not visible. Gateway itself not visible. Gateway of step-well Gateway to a palace building identified as Lal Bangla, although this name does not appear in descriptions of the site. Gateway to Purana Qila. Gateway to unidentified temple. Gateway with a herd of deer in the foreground, possibly at Kyoto. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 168. Gaumukha Shrine beside a spring. General, head-on view of gopura. General, head-on view of the entrance gopura. General, head-on view of the entrance to the chaitya hall. General, slightly distant, view of the school, an Indo-Saracenic design by Vincent Esch, with gardens in the foreground General, slightly unsharp, looking towards the fort at Ispana Ragzha.[Gelatin silver print, 140x80mm]. General, with bare wooden floor. Compare the later view at Photo 10/22 (11), showing a more lavishly furnished and carpeted room. See also print 14. General carte-de-visite view of the gate, surmounted by painted mermaid motif in relief. General exterior view.[Albumen print, 376x302mm]. General exterior view. Captioned 'New Port Commissioner's Building' on reverse, but shows the same building as seen in print 76, and inscription over port-cochere reads 'Custom House'. General exterior view . See also print 69. General exterior view. Similar to view published in The Graphic of 29 March 1902, and there credited to Mackay. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view. General exterior view from the north-west. General exterior view looking towards the Lahore gate. General exterior view of Buddhist rock-cut temples. General exterior view of buildings.[Printing-out paper, 303x244mm]. General exterior view of church. A similar view published in The Graphic of 29 March 1902 is credited to W.A. Mackay and this view is probably by the same photographer. General exterior view of factory buildings. General exterior view of gopura. General exterior view of main facade. General exterior view of the brick-built offices of the Baroda State Railway. A plaque over the entrance gives the date of construction as 1921. General exterior view of the charcoal rolling mill. The willow used in the process can be seen in store in print 6.[Printing-out paper, 322x259mm]. General exterior view of the European-style building. General exterior view of the house. General exterior view of the Jami Masjid. Another copy at Photo 2/4 (91). General exterior view of the main facade on Strand Road. General exterior view of the tombs.[Albumen print, 305x376mm]. General exterior view of the Viceregal Lodge, built in 'Elizabethan' style in 1888 to the designs of Henry Irwin. For a series of views taken soon after the house was built, see Photo 47. General exterior view General exterior view General from the south-west. General ghats scene with temples. General head-on view from the courtyard. General head-on view of gopura. The entrance has been bricked up (apart from a small doorway) as the stone beams above the entrance have been broken. General head-on view of the elevated arcaded fa�ade of the building. The precise function has not been determined: it was possibly used as a viewing platform. General interior view. General interior view of shop floor.[Printing-out paper, 307x248mm]. Generally view of one of the ancillary pagodas of the Shwe Dagon. Letterpress continues: 'On the platform of the Shwe Dagon. There were numbers around the great Pagoda similar to this, which have been destroyed'. General side view of the school building.[Albumen print, 297x377mm]. General street scene with the mosque in the background. General temple view. General view, a better photograph than print 814. No references supplied. General view, a brick building with square tower. General view, after clearance. General view, a larger format and probably taken at an earlier date than prints 950-951. The attribution to Cole is probably incorrect. General view, an open-sided pavilion or chhatri over the gravestone. General view, a poor quality photograph (probably a copy). The Vakalapudi Lighthouse is some five miles from the port of Cocanada (modern Kakinada). General view, a poor quality print with some retouching. General view, a somewhat faded print. General view, a stone building with a wide verandah and thatched roof. General view, a tennis court in the foreground. General view, building largely obscured by trees. second copy at print 79.[Albumen print, 240x182mm]. General view, building partially obscured by foreground vegetation. General view, building partially obscured by trees. General view, building partly obscured by shade of trees. Small format print. General view, building partly obscured by trees. General view, but with structure partially obscured by tree in foreground. General view, closer than preceding image. General view, closer than print 2199. General view, closer than print 2236. General view, closer than print 2283. General view, faded. General view, framed by trees. General view, from outside perimeter wall. General view, from slightly below, of the fa�ade of the Pallava rock-cut temple known as the Orukal Mandapa. The temple has three plain rectangular openings. General view, from the bank. General view, front on. General view, head-on. General view, inserted in Percy Macqueen, 'The Madras Club. 1832 to 1934. A Sketch of its History' (Madras, 1934).[Gelatin silver print, 222x126mm]. General view, location unidentified. General view, looking across a tank towards the School of Art, situated at the junction of Chowringhee Road and Kyd Street. General view, looking across court of mosque from outside perimeter wall. General view, looking across field towards temple. General view, looking across open ground towards the Ananda Pagoda. With letterpress note: 'Or 'the Infinite'. It was built about A.D. 1060, and restored during the present century and is now in perfect repair. The chant of the worshippers, the lofty aisles with their long vistas, make this building resemble a Christian Cathedral rather than a Heathen Temple'. General view, looking across pools towards a vista of terraces. General view, looking across rooftops and trees towards the mosque.[Albumen print, 379x306mm]. General view, looking across tank towards building. Enlarged duplicate of print 283.[Gelatin silver print, 242x181mm]. General view, looking across tank towards shrine.[Albumen print, 176x105mm]. General view, looking across tank towards temple. The reference number of the print corresponds to the photograph of the Golden Temple in the Johnston & Hoffmann catalogue.[Printing-out paper, numbered '20246' in pencil on reverse, 291x220mm]. General view, looking across the gardens towards the buildings. General view, looking across the garden towards the tomb.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 290x210mm]. General view, looking across the lake towards the palace. General view, looking across the railway line towards the court and main mosque buildings.[Albumen print, 218x139mm]. General view, looking across the riover towards the temple complex. For a description, see J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I vol. VII, Calcutta, 1878), pp. 5-9. General view, looking across the rooftops towards the mosque. View of the dome of Hagia Eirene, at the back of the Hagia Sophia[Albumen print, 325x261mm]. General view, looking across the tracks towards the station.[Silver printing-out paper, 128x73mm]. General view, looking along drive towards bungalow. Several tears in print.[Silver printing-out paper, 246x192mm]. General view, looking along street towards the gopura.[Gelatin silver print, 121x177mm.] General view, looking along street towards the gopura. General view, looking along the street towards the gateway. General view, looking down onto temple and tank, with the buildings of the city beyond. Print in poor condition, with tear at right-hand side.[Albumen print, 291x212mm]. General view, looking down onto the building. General view, looking down onto tomb with fortified surrounding wall.[Silver printing-out paper, overall fading, 289x211mm]. General view, looking down onto unnamed temple.[Albumen print, 245x296mm]. General view, looking obliquely along the east fa�ade of the tomb. General view, looking over perimeter wall from the south-east. General view, looking towards domed sanctuary tower. The lower portion of the building is obscured by the recently built wall surrounding the temple. See Photo 1008/8 (1981) for an earlier (1908-09) view of the temple, from a similar viewpoint, but with extensive rebuilding and repairs in progress andwith the boundary wall not yet built. The rebuilding work is described in the Southern Circle report for 1910-11, p. 39. General view, looking towards entrance of shrine. General view, looking towards largely collapsed mandapa, with sculptured doorway beyond. 'Opposite the Navalakha is the ruin of a smaller and plainer temple which faces it and so looks towards the west. It is upon the same central line and looks as if it had been built in connection with the former. The mandapa, save a few pillars, has fallen, and the stone has been removed. A good sculptured doorway admits to the shrine in which is a linga' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 5). General view, looking towards palace entrance. The palace and fort at Kumher were built by Maharaja Badan Singh in the mid-1720s. Duplicate at Photo 430/27 (20). General view, looking towards temple shikara, and showing richly carved doorway: 'The small temple of Ranik Devi is just inside the walls of the town on the north side towards the eastern end, where the top of its sikara may be seen above them. It must have been a little gem when intact, but the shrine alone now stands with its sikara tolerably complete, the porch or mandapa having disappeared. Its walls, though moulded, are not excessively decorated; it is in fact rather plain, but the proportions and balance of its parts are good. The doorway of the shrine was fully sculptured, but is much damaged...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 5). General view, looking towards temple walls and dome beyond (a Muslim addition when the building was converted into a mosque). For a detailed description, see Cousens' Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, pp. 7-11. General view, looking towards the front of the ruined Dilkusha Palace.[Gelatin silver print, 274x225mm]. General view, looking towards the Moti Masjid. General view, looking towards the porte-coch�re. A brick building in mixed style. General view, looking up steps towards gateway. General view, more distant and oblique than print 36. Albumen print duplicate at Photo 1000 (1278).[Carbon print ('Autotype'), 198x143mm]. General view, more distant than print 3467. General view, more distant than print 6. For a later print, made from the same negative c. 1900 and in better condition, see Mss Eur F111/483 (4). The later print is dated 29 January 1873. General view, oval vignette. General view, partially obscured by trees in foreground. General view, partly obscured by foreground vegetation. General view, part of building obscured by tree. General view, part of image unsharp. General view, poor quality. General view, poor quality photograph General view, Sarasvati River in foreground. General view, shikara in foreground. General view, showing brick construction of lower floor and wooden upper story. Pencilled notes on mount in Temple's hand read: 'Upper floor - our private apartments & the boudoir for F. [Fanny] - kitchen [in background]. Lower floor - offices. Convicts carrying stone [group of four men on path in foreground]. General view, showing columns in the form of elaborately carved animals. General view, showing decorative stone work. General view, showing face with inscription. General view, showing presses. General view, showing presses. General view, showing restoration work in progress. General view, showing restored platform. General view, showing results of conservation work. General view, showing sculptural detail and mouldings: 'In the village is the old temple of Daitya-Sudana...built of black stone profusely carved all over the exterior with images and other ornamentation. The work, however, is comparatively late, and this is seen in the inferior workmanship of the images, the style of the bands of moulding, particularly those in the basement, and an indiscriminate spreading of ornament over every available surface. The building, too, seems never to have been finished...It is my opinion that this temple...was being built when the Mahomedans first overran this part of the country about the end of the 13th or beginning of the 14th century. They stopped the work, dispersed the workmen, and mutilated the images...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 10). For earlier views of the temple, taken by Robert Gill in 1871, see Photo 1000 (1961-1965). General view, showing sculptured facade. 'Close beside the Police Thana, upon the east, is a little unfinished temple - a comparatively modern structure - but built after the fashion of the older decorated mediaeval shrines, and upon a star-shaped plan. It is covered with sculpture, very modern in style...' ('Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 38). General view, showing slab construction. General view, showing steps leading up to the gateway. General view, showing the back of the mosque, with the gateway beyond. General view, showing tile work. General view, showing workers at the presses. General view, similar viewpoint to print 19, but in a smaller format.[Gelatin silver print, 152x201mm]. General view, slightly closer than print 638. General view, slightly distant, from driveway. General view, slightly distant, looking towards the temple. General view, slightly distant, of bungalow and adjacent buildings. General view, slightly distant, of small ruined tomb. General view, slightly distant, of the Amareshvara Temple. General view, slightly distant, of the east side of Trimul Naik's Palace. 'The very neat building in the foreground of the view was erected by G.P. Fischer Esquire, for the accommodation of a School for Hindoo Britons.' Albumen print, somewhat yellowed and slightly faded, 357 x 225 mm. General view, slightly distant, of the Gurudwara. Archaeological Reconnaissances, fig. 8: 'Mounds formed by brick kiln remains south of Govindwal.' General view, slightly distant, of the Shwe San Daw Pagoda at Prome, with the Irrawaddy beyond. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.670. Photograph unsigned, but probably by J. Jackson. General view, slightly distant, of the south front of Shaikh Salim Chishti's tomb, with the tomb of Islam Khan to the right. General view, slightly distant, with Indian cart in foreground. Print in very poor condition. Duplicate (in good condition) at Photo 2/3 (124). General view, slightly distant. (Ancient Persis Map B1). General view, slightly distant. General view, slightly distant. General view, slightly distant. General view, slightly distant. General view, slightly distant. General view, slightly distant. General view, slightly distant of the First World War Memorial tower. General view, slightly more distant than last. General view, slightly more distant than print 18. General view, slightly more distant than print 757. General view, some retouching. General view, somewhat distant. A faded print. General view, somewhat distant. General view, somewhat faded. Laid on top of this print is another, unnumbered photograph giving a close view of the steps leading up to the dagaba.[Gelatin silver prints, 55x80mm and 82x120mm]. General view, somewhat faded. General view, somewhat indistinct.[Blue-toned print.] General view, taken closer to wall of platform.[Gelatin silver print, 55x80mm]. General view, the best in the series, and showing the accretion of more modern buildings around the central structure. For some years the mosque was used as the private residence of Henry Cope, editor of the Lahore Chronicle, and was later sold to the Punjab and Delhi Railway Company. After the railway came under state control, it became the office of the traffic manager of the Punjab Northern State Railway. General view, the building largely obscured by trees.[Gelatin silver print, 98x78 mm]. General view, the building largely obscured by trees. General view, the building partially obscured by trees. Duplicate at Photo 1008/8 (1979).[203x153mm]. General view, the building partly obscured by huts in foreground. General view, the building partly obscured by trees.[Printing-out paper, 142x83mm]. General view, the building somewhat obscured by trees. General view, tomb largely obscured by foreground vegetation. General view, tomb partially obscured by tree in foreground. General view, with (?Zulu) war memorial in foreground. General view, with a European and an Indian standing at the base. General view, with a grindstone on the ground in the foreground. General view, with a hack gharry in the road in the foreground. Plate 6 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view, with an Indian figure standing in the foreground. General view, with a row of inscription slabs standing in the foreground. General view, with a row of inscription slabs standing in the foreground. General view, with a water barrel and various boxes (probably for photographic plates) placed in the shade of the verandah. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2071). General view, with back of temple snactuary in foreground. General view, with Barat and Tokhta standing in middleground. Innermost Asia, vol. 1, fig 80: 'Ruins at Lal-tagh site, north-east of Maral-bashi.' (I.A. Map 7, B4). General view, with Bhima Ratha in foreground and Nakula Sahadeva Ratha with carved elephant, in left background. The Dharmaraja Ratha is out of the photograph. General view, with building partially concealed by trees. The tomb was converted for use as a Christian church in 1851 and sports a cross on top of the dome. It is now the Punjab Record Office. General view, with building partially obscured by wall in foreground. General view, with chortens in foreground. General view, with collapsed wall. General view, with courtyard in left foreground. 'The largest and most conspicuous of the tombs is that of Nawab Isa Khan, close to the travellers' bungalow...In the centre is the great apartment, containing the graves, which rises through the full height of the building to the dome, and this is surrounded on all four sides, outside, by pillared verandahs in two storeys. The whole is built of a buff-coloured stone, brought, as it said, from Kathiawar...' ('Progress Report of the Archaeological Survey of Western India. For the months September 1895 to April 1896', p. 10). General view, with demolished buildings in foreground. General view, with Dhamekh Stupa in right background. General view, with Dharmaraja Ratha at left, Bhima Ratha centre, Arjuna and Draupadi Rathas beyond and Nakula Sahadeva Ratha at extreme left. General view, with domed sanctuary tower in foreground. General view, with enclosure wall in foreground: 'It faces the east, and consists of a shrine, an ante-chamber and a mandapa, with aporch in front of the entrance doorway which is on the east. It was surrounded by a heavily-buily wall enclosing a courtyard and having its entrance upon the north side...The temple stands athwart the wall and cuts through it. It is therefore evident that the wall was built after the shrine, and perhaps long after the big temple. The masonry of the walls and the pillars of the courtyard gateway are of the same style and age as those of the temple at Mehkar, and therefore later than the temple itself' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 17). For an earlier view of the temple, taken by Robert Gill in 1871, see Photo 1000 (1951). General view, with entrance and porte-coch�re on left.[Albumen print, 243x182mm]. General view, with European figure seated in the background. General view, with European standing in background. General view, with excavated material in foreground. General view, with figure on charpoy in foreground.[Albumen print]. General view, with figures posed in foreground, of the Husainabad Imambara or Palace of Lights, erected by Muhammad Ali Shah in 1837. General view, with flagstaff in foreground. General view, with gardens in foreground.[Gelatin silver print (modern copy), 233x159mm]. General view, with graves in foreground. General view, with Indian figure seated in foreground. Upper portion of temple rebuilt or repaired in brick. For a later print made from the same negative, see print 1981. India Museum no. 847. Duplicate of Photo 1000 (3354). General view, with Indian figures posed seated in the foreground on either side of the doorway. For a variant of this view, evidently taken on the same occasion, see Photo 1000 (1985). India Museum no. 853. Duplicate of Photo 1000 (3360). General view, with line of British cannons on grass in foreground. General view, with line of cells in middleground. General view, with Lord Curzon's statue in front of the porch.[Gelatin silver print, 200x146mm]. General view, with mahamandapa in foreground. General view, with main shrine in foreground and plainer mandapa beyond.[284x240mm]. General view, with mandapa entrance in foreground. General view, with mandapa in foreground. General view, with mandapa in right background under repair. General view, with mandapa in right foreground. General view, with measuring scales laid horizontally and vertically across interior. Duplicate at Photo 1000 (1279).[Carbon print ('Autotype'), 228x179mm]. General view, with mosque in background. General view, with nandi pavilion in foreground. General view, with newly-paved court in foreground. General view, with outer casing of shikara collpapsed to expose inner stone casing. General view, with perimeter wall in foreground. General view, with Queen Victoria's statue in right foreground.[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 294x187mm]. General view, with ruined entrance seen in print 320 at left. India Museum no. 858. Duplicate of Photo 1000 (1990) and (3365). General view, with shikara at left. '...Between the town and the seashore, situated in a clump of trees in the fields, is the old temple of Surya. This and the old temple of Varaha at Kadvar, are two of the oldest temples we had as yet met with and are probably older even than the oldest at Than. They take us back to the style of the old seventh and eighth century temples at Aihole and Badami, where the construction is more or less wooden but carried out in stone. To provide against cracking of the stone beams and joists they were made very heavy and thus produce a heavy, massive, and archaic appearance. This apperance is further added to by a marked absence of much ornamental detail, and what little there is of this is in keeping with the style - it is large and severe' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 14). General view, with tank in foreground. General view, with teak-panelled galleries overlooking the hall. General view, with temple and stupa in right background. General view, with temple on summit obscured by trees. General view, with the colonnade of the Quwwat-ul-Islam Mosque in the background.[Gelatin silver print, 236x284mm]. General view, with the double temple in the background. General view, with the Lanka Tilaka image house (see print 23) on the left, the Kiri Dagaba (see print 22) on the right. For a similar view taken c. 1918, see Mss Eur D722/27 (47).[Albumen print, 285x189mm]. General view, with the Qutb Minar just visible in the distance. General view, with the tower and cupola in the foreground.[Albumen print, numbered '3730' in the negative, 275x198mm]. General view, with throne and canopy at left. Photograph unsigned, but probably by Bourne & Shepherd. Second copy neg at B.22645./7 General view, with trees in foreground. General view, with two Indian staff members at work. General view, with village houses in foreground. Duplicate of Photo 1008/9 (2323).[Silver printing-out paper, 213x155mm]. General view, with vimana in foreground. General view, with workers at the machines. General view, witrh mandapa at left and free-standing column at right. General view; a considerably faded print. General view; a faded print. General view; building partially obscured by trees. General view; with scaffolding on dome. General view: '...an old temple, partly in ruins...which, from the manner in which the walls have given way, disclosing the interior structure of the same, serves as an excellent example shewing how the walls of these buildings were erected. In the photograph the outer and inner casings or shells, each with one face dressed and the inner rough, are distinctly seen and the dry boulder filling in reveals itself. It will be seen from the photograph...that there is practically no bonding between the inner and outer faces of the walls, which owe their stability to the weight of the blocks composing them. The filling in is thus always tending to burst the walls asunder, and so we often find that ruin to these old shrines is generally in this direction, in fact, many an interior stands intact where, from within, one would hardly imagine the building at all damaged, whereas outside the walls have been entirely stript of their outer shells and the filling in has rolled away' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', pp. 4-5).[Printing-out paper, 290x213mm]. General view: '...A very pretty little domed tomb called the Moti Samadha of Chimkabai Sahib...It is of cut stone in the Muhammadan style and is as chaste and well-proportioned a little building as it is possible to find. It is a square building with a minaret rising from each of the four corners of its roof with clusters of miniature minars round the base of each. Over the centre rises a well-proportioned dome, with other little minars around its drum, and surmounted by a remarkably well-designed finial...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 13). General view: 'As I was not permitted to go inside, I deputed a Hindu photographer to go into the courtyard and try a get a general view of the building and to photograph any sculptures or other antiquities of interest that he might meet with. However, he was not permitted to enter the central shrine, but he was successful in obtaining a general view of the exterior of the temple which shows what a quaint looking building it is..' The temple is a tiered structure with deeply sloping roof, the lower section in stone. The temple 'has the usual wooden roof and gable front facing the east and is covered with small thin copper sheets arranged like tiles with three copper gilt finials along the ridge of the roof. The somewhat extraordinary manner in which the lower portion of the building is roofed seems to indicate that it is a stone model of a wooden building. The roofing of the temple is certainly a very remarkable piece of stone construction...' (Alexander Rea, Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1920-1921 (Madras, 1921), p. 25). General view: 'At Nohta, in the Damoh District, we found that the old temple which we had surveyed in 1893-1894 had since been rebuilt. But this could not have been very good work as the north-west corner has fallen again. The rebuilding of the temple is not what it should have been...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 36). For Cousens' earlier photographs of the temple, see Photo 1002/24(1225-1226). General view: 'Beside this [main] temple, on the north, is a smaller one which is now a wreck. A photograph taken about 30 years ago shews that very much more was standing then. The existing beams and pillars should be rendered safe, and the building relegated to the second class for conservation purposes' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 15). The earlier photograph to which Cousens here refers, is that taken by Robert Gill in 1871: see Photo 1000 (1995). General view: 'In the Saugor District, in the extreme north, is the village of Madanpur where there are the ruins of two old sculptured temples. They are the mandapas of two temples, a larger one and a smaller one, whose shrines have disappeared. What remains is such a wreck that little can be done except to save the ruin as it is...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 36). General view: 'It is a modern shrine built over the samadh of a sadhu named Hari Baba. The samadh is a mud platform, faced with stone slabs, and surmounted by a small mud grave which contains the remains of the sadhu...' Daya Ram Sahni, Notes in the Gorakhpur and Saran Districts (ASI Annual Report 1906-07 (Calcutta, 1909), pp. 193-205), p. 201. General view: 'It is much ruined and the porch and domical ceiling of the mandapa have fallen. The doorway of the central shrine is much damaged, but those of the side shrines are entire...The one mandapa is common to all three shrines...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 6). General view: note shadow of photographer and tripod in foreground. General view: see print 32 for a better photograph of this subject. Possibly photographed during the Burma-China Boundary Commission. General view: there are few visible remains of the fort. Duplicate at Photo 3/2 (109). General view: this is the clearest of the series. General view. '...Rather a fine old temple of Vishnu which faces the west...The ceilings of the mandapa are very well decorated, and in style seem to stand half-way between the later temples of the 13th and 14th centuries, and those of the 11th. The pillars, too, are of an intermediate style. The mandapa is in a very shattered condition, many of the pillars being canted over at very dangerous angles and threatening to collapse. The exterior walls of the shrine are decorated with the usual base mouldings surmounted by bands and panels of arabesque in place of images...a portion of the sikhara stands...As this temple is in such a bad condition, it will be necessary to take down the three porches and rebuild them. The central pillars and dome odf the hall are in fairly good condition...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, pp. 14-15). For an earlier series of views of this temple, taken by Robert Gill in 1871, see Photo 1000 (1992-1994). General view. 'An important relic of bygone times is the temple of Surya outside the city on the east...Its general style is identical with the temple of Surya at Than [see print 1602]...but it is of rather better workmanship than the latter and is probably an earlier temple by a few years...I am inclined to put it, tentatively, about A.D. 1350. Its sikara and porch, with a great deal of the hall roof, have been thrown down at least twice and rebuilt once...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p.12). General view. 'Cunningham's plan' refers to plate 26 of volume 9 of Cunningham's ASI reports. General view. 'On the way near the huts of the Shiroza hamlet, only 2� miles from Kharan fort, I passed one of these domed tombs. It is known as Ashilo-gumbaz. Its fair preservation and the shape of its high dome suggested a late date. The upper frieze on the outside of the square burial chamber is ornamented with burnt clay slabs showing in low relief very coarsely modelled figures of camels, horses and other animals...' (Gedrosia, p. 29). General view. 'The Church, situated on C Road...was built by King Mindohn Min, father of Thebaw. The Rev. J.E. Marks, was Chaplain to the British Embassy and Missionary S.P.G. in Mandalay. In 1869 the King first promised to build the church. It is copied after designs of Mr Street's, and was built by Burmese carpenters, under the supervision of Dr Marks and an Officer of the Public Works department, lent for the purpose by the Government of Lower Burmah. It is contructed entirely of wood...The church was consecrated by Bishop Milman in 1872 or 1873...' General view. 'The finest ruin in the Bilaspur district is that of the very ornate temple at Janjgir, 26 miles to the east of Bilaspur, and close beside the railway. It stands upon a high basement to the east of the village, upon the west margin of the tank, and consists of an unfinished shrine facing the east whose exterior walls are covered with sculpture. It is entirely in stone. The sikhara, which had been abandoned when about half built, is in the northern style. The great decorated doorway of the shrine, with its roll mouldings of undercut arabesque running round it, is very fine...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 29). General view. 'The temple consists of a shrine, a sabhamandapa, and a small porch, with a Nandi pavilion in front...The temple faces the west...The sikhara is of the Dakhan style and intact...' ('Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 57). Henry Cousens adds the following note: 'This is a magnificent temple, probably of the 11th century, with such work which, had it been carved in marble, would have run the Dilwara temples at Abu very close. Mr Bhandarkar gives a very short description of it, but the photos., which are very clear, help to supplement notes.' General view. 'The tomb of Yar Muhammad, the first Kalhora king of Sind, is a great square massive building lavishly decorated with coloured glazed tiles. Around three sides, high up, lighting the gallery around the dome, are rows of large arched windows fitted with terracotta screens of delicate geometric tracery. Similar windows on the front are fitted with perforated glazed tiles. Suspended around the tomb within are great numbers of clubs or clout sticks to show how easily Sind was taken from the Pahwar tribe, swords not having been necessary' ('Progress Report of the Archaeological Survey of Western India. For the months September 1895 to April 1896', p. 9). General view. 'The whole temple here is very much larger that that at Sutrapada and is perhaps older. It is now dedicated to the Varaha atavara of Vishnu, but judging from the unusual proportions of the shrine it was originally dedicated to the whole ten atavaras which were placed along on the seat against the back wall...The roof of the shrine, save parts of the lower row of chaitya niches, has gone, leaving only the flat stones of the ceiling which have been strengthened beneath by joists of common jungle teak. It is not a sandalwood ceiling as we have been led to believe. The sikhara of the shrine was probably of the same early style as that of the old temple at Gop...The pillars in the hall are great square massive shafts with the regular bracket capital of the plainer caves. These support heavy beams over which the roofing slabs are placed.' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, pp. 14-15). General view.[?Collodion printing-out paper, 219x200mm]. General view.[?Matte collodion printing-out paper, 154x200mm]. General view.[100x75mm]. General view.[153x108mm]. General view.[74x99mm]. General view.[Albumen print, 190x228mm]. General view.[Albumen print, 215x145mm]. General view.[Albumen print, 220x290mm]. General view.[Albumen print, 235x183mm]. General view.[Albumen print, 237x184mm]. General view.[Albumen print, 300x373mm]. General view.[Albumen print, 325x260mm]. General view.[Albumen print, 370x302mm]. General view.[Albumen print, poor condition, 289x223mm]. General view.[Albumen print, signed 'Bourne 1073' in the negative, 291x236mm]. General view.[Albumen print, signed 'Sach� 114' in the negative, 281x226mm]. General view.[Albumen print, signed 'Sach� 173' in the negative, 284x229mm]. General view.[Albumen print, with photographer's blindstamp in bottom right-hand corner, 276x209mm]. General view.[Albumen print]. General view.[Albumen print]. General view.[Gelatin silver print, 105x154mm]. General view.[Gelatin silver print, 135x78mm]. General view.[Gelatin silver print, 152 X 103 mm]. General view.[Gelatin silver print, 202x150mm]. General view.[Gelatin silver print, 202x151mm]. General view.[Gelatin silver print, 203x150mm]. General view.[Gelatin silver print, 225x274mm]. General view.[Gelatin silver print, 235x286mm]. General view.[Gelatin silver print, 240x281mm]. General view.[Gelatin silver print, 240x288mm]. General view.[Gelatin silver print, 271x220.] General view.[Gelatin silver print, 287x230mm]. General view.[Gelatin silver print, 289x228mm]. General view.[Gelatin silver print, 289x229mm]. General view.[Gelatin silver print, 290x239mm]. General view.[Gelatin silver print, 291x228mm]. General view.[Gelatin silver print, 83 X 110 mm]. General view.[Gelatin silver print, 98x78 mm]. General view.[Gelatin silver print, 98x78 mm]. General view.[Gelatin silver print, 98x78 mm]. General view.[Gelatin silver print (modern copy), 229x137mm]. General view.[Gelatin silver print (modern copy), 241x123mm]. General view.[Lantern slide, 75X75 mm]. General view.[Platinum print, 290x227mm]. General view.[Printing-out paper, 318x261mm]. General view.[Printing-out paper, 321x258mm]. General view.[Printing-out paper, 322x258mm]. General view.[Printing-out paper, signed 'Holmes' in the negative, 291x233mm]. General view.[Silver printing-out paper, 151x102mm]. General view.[Woodburytype, 189x133mm]. General view. Although the building is described as a palace in the published list, it was more probably used for monastic purposes. General view. Although the mount is stamped 'Johnston & Hoffmann', this is clearly one of Konstam's photographs (see note in collection introduction).[Albumen print, 155x108mm]. General view. Another copy at Photo 2/4 (55). General view. Another copy at Photo 2/4 (68). General view. Another copy at print 510D. General view. Apart from the mouldings of the shikara and the repeated stepped gables on the roof, the building is free of all decorative elements. General view. A rather dark print. Recorded as No. 310 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Calcutta, 1919), p.220. General view. A somewhat faded print. General view. A square building with a central dome and chhatris at each corner. Slight damage along right-hand edge of negative. General view. Better print at Photo 806/4 (10). General view. Carte de visite size print, with some chemical staining. General view. Collotype reproduction. General view. Copy at Photo 1002 (534). General view. Copy at Photo 1002 (554). General view. Copy at Photo 1002 (568). General view. Copy at Photo 1002 (571). General view. Copy at Photo 1002 (603). General view. Copy at Photo 1002 (621). General view. Copy at Photo 1002 (624). General view. Copy print. Caption on the accompanying manuscript list reads: 'Kirwee Pagoda, where General Wheeler obtained an in[?] booty in gold & jewels'. General view. Copy print. General view. Copy print. General view. Duplicate (in good condition) at Photo 2/3 (117). General view. Duplicate at Photo 10/12 (11). General view. Duplicate at Photo 10/12 (12). General view. Duplicate at Photo 10/12 (18). General view. Duplicate at Photo 10/12 (22). General view. Duplicate at Photo 10/12 (3). General view. Duplicate at Photo 10/12 (32). General view. Duplicate at Photo 10/12 (4). General view. Duplicate at Photo 430/30 (21). General view. Duplicate at Photo 430/30 (34). General view. Duplicate at Photo 430/30 (35). General view. Duplicate at Photo 430/30 (36). General view. Duplicate at Photo 430/30 (7). General view. Duplicate of Photo 1008/10 (11G). Another copy in this album at print 57.[203x152mm]. General view. Duplicate of Photo 1008/10 (8G). Another (better) copy in this album at print 53.[203x153mm]. General view. Duplicate of Photo 1008/10 (9G). Another (better) copy in this album at print 54.[202x153mm]. General view. Duplicate of Photo 1008/9 (2264).[Silver printing-out paper, 214x158mm]. General view. Duplicate of Photo 1008/9 (2266).[Silver printing-out paper, 215x156mm]. General view. Duplicate of Photo 1008/9 (2322).[Silver printing-out paper, 212x152mm]. General view. Duplicate of Photo 447/1 (48). General view. Enlarged duplicate of print 286.[Gelatin silver print, 260x169mm]. General view. Faded print. General view. Faded print. General view. Faded print. General view. For another copy of this print, see Photo 799 (14).[Albumen print, 212x145mm]. General view. For a variant print, taken from a slightly different angle, see Photo 1000 (1997). India Museum no. 862. Duplicate of Photo 1000 (3369). General view. For closer views of the edict pillar, see prints 57 and 65. ('Tibet Past and Present', p. 3). General view. From east. General view. From east. General view. From north. General view. From north-east. General view. From north-east. General view. From north-east. General view. From north-east. General view. From south. General view. From south-east. General view. From south-east. General view. From south-west. General view. From west. General view. Identity of Mr Holt not supplied. General view. Incorrectly identified in printed list. General view. In Darogha Ubbas Alli, 'The Lucknow Album' (Calcutta, 1874), this tomb is identified as that of Saadat Ali Khan, rather than the preceding print. General view. In Darogha Ubbas Alli, The Lucknow Album (Calcutta, 1874), this structure is identified as the tomb of Khursid Zadi, wife of Saadat Ali Khan. General view. India Museum no. 883. Duplicate of Photo 1000 (3388). General view. Later print from an early (?)paper negative.[Gelatin developing-out paper, 233 x 177 mm]. General view. Letterpress continues: 'Front view of this place as decribed in no. 184, is a very ornamental building, is built of wood, supported on granite pillars neatly carved with Chinese characters.' General view. Letterpress continues: 'This is the same pagoda, or place of worship as seen in view no. 181 - on the left are Chinese hongs.' General view. Letterpress continues: 'This place is near to the race course, and is very picturesque in appearance - it is laid out with numerous walks surrounded by small fancy earthenware walls - on the top of these are placed numerous pot plants, or dwarf trees - at the back part of the gardens is a cotton tree.' General view. No references supplied. General view. North-West Provinces list p. 115: '...A little less than three miles to the west of Barua Sagar, near the village of Phatera, is a temple-tower of the ninth century, built on the summit of a dih...constructed of solid blocks of sandstone, richly carved with figures from the Hindu pantheon, which have been much defaced by the Musalmans. Externally it measures about 22 feet by nine feet, but originally it extended at least another nine feet in an eastward direction. It is built in the form of a shikara, the outline of which is simple. A great proportion of the east fa�ade is covered with 'horse-shoe' diaper work, and profusely ornamented with figure carving of a high class nature. General view. Not Agra Fort as stated in the caption. General view. Note camera on tripod in left foreground. General view. of east fa�ade. General view. Original and duplicate negatives only, no print. General view. Original and duplicate negatives only, no print. General view. Original and duplicate negatives only, no print. General view. Part of the north wall has collapsed. General view. Photograph published with the 1892-93 report. General view. Photograph unsigned, but possibly by Henry Dixon (although differing from the view of the mausoleum credited to him at Photo 1000 (2280a)).[Albumen print, 244x190mm]. General view. Photograph unsigned, but probably by Nicholas & Co. General view. Plate 27 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view. Plate 33 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view. Plate 6b of J.Ph. Vogel, The Temple of Mahadeva at Bajaura, Kulu in Archaeological Survey of India. Annual Report 1909-10 (Calcutta, 1914), pp. 18-24. General view. Poor quality, indistinct. General view. Poor quality print.[101x78mm]. General view. Poor quality print. General view. Poor quality print. General view. Poor quality print. General view. Possibly a Nicholas & Co photograph. General view. Possibly taken on the day of the opening ceremony. General view. Precise location unknown. General view. Print faded in highlights. General view. Print in poor condition, overall yellowing.[Printing-out paper, 321x259mm]. General view. Print in poor condition, with overall spotting.[Albumen print, 300x378mm]. General view. Print in poor condition, with tears and folds.[Albumen print, numbered '10034' in the negative, 291x229mm]. General view. Print in poor condition. General view. Print in poorish condition, with overall spotting.[Albumen print, 308x371mm]. General view. Print in poorish condition, with overall spotting.[Albumen print, 309x373mm]. General view. Print in poorish condition, with overall spotting.[Albumen print, 374x308mm]. General view. Print in poorish condition, with overall spotting.[Albumen print, 380x310mm]. General view. Print in very poor condition, fading and yellowed. General view. print in very poor condition. General view. Print uncredited, but probably by Lawrie.[Gelatin silver print, 292x239mm]. General view. Print unsigned, but probably by Felice Beato. General view. Probably photographed by Gobindram & Oodeyram. General view. Probably photographed by Gobindram & Oodeyram. General view. Recorded as No. 320 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Calcutta, 1919), p.223: 'The tomb is known locally as Munda Gumbad by reason of its having no dome...' General view. Reproduced in Henry Cousens, 'Bijapur and its Architectural Remains' (ASI, vol. 37, Imperial series, Bombay, 1916), pl. 86 (bottom). General view. Reproduced in Henry Cousens, 'Bijapur and its Architectural Remains' (ASI, vol. 37, Imperial series, Bombay, 1916), plate 16 (top). General view. Reproduced in Henry Cousens, 'Bijapur and its Architectural Remains' (ASI, vol. 37, Imperial series, Bombay, 1916), plate 25 (bottom). General view. Reproduced in Henry Cousens, 'Bijapur and its Architectural Remains' (ASI, vol. 37, Imperial series, Bombay, 1916), plate 73 (top). General view. Reproduced in Henry Cousens, 'Bijapur and its Architectural Remains' (ASI, vol 37, Imperial series, Bombay, 1916), plate 37 (top). General view. Second copy neg at B.25643. General view. Second copy neg at B.25644. General view. Second copy neg at B.25645. General view. See M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), pp. 185-186 for description. General view. See note at print 2268. General view. See note at print 2337. General view. See note at print 3894. General view. Small faded poor quality print. General view. Small faded print. General view. Small faded print. General view. Small faded print. General view. Small faded print. General view. Small format print. General view. Stereoscopic view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view . General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. general view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. Tear along centre of print. General view. The base of the platform has been restored. General view. The building, partially obscured by trees, appears in a dilapidated state. Letterpress continues: 'From outside the enclosure'. General view. The building is similar in style to others built in Shillong following the 1897 earthquake, although there is no proof of its location. General view. The building is similar in style to others built in Shillong following the 1897 earthquake, although there is no proof of its location. General view. The building itself is almost entirely obscured by the enclosing stone wall.[Printing-out paper, 321x257mm]. General view. The buildings are largely obscured by trees. General view. The cenotaph is visible through the doorway. General view. The emulsion has degenerated in one area of the negative (mainly in sky), leaving a fine patteren of lines on the print. General view. The emulsion has degenerated in one area of the negative (mainly in sky), leaving a fine patteren of lines on the print. General view. The exterior casing of the shikaras has collapsed, exposing the filling; Cousens notes: 'Photo No. 2450 shows the amazing manner in which the interior of the spires were filled up, behind the beautifully sculptured exterior, with dry rag-work.' General view. The portrait group at print 26 was probably taken against the wall seen in the right background.[Albumen print, 230x174mm]. General view. The print has been folded over on the right side. General view. The temple is described in J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), pp. 240-243. General view. The tomb in the foreground is a tall square structure surmounted by an octagonal drum, a dome and a small lantern. General view. The upper portions of the temple are in brick. General view. This photograph also appears as plate 16 in F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). See Photo 998. Second copy negative at B.25603. General view. This view is reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl.xiv (b), and the tomb described pp. 53-54: '...It is evident he thought more of his religion than he did of his own glorification, for the tomb is but a poor mean edifice. It is situated in the fields in the sout-west quarter of the city. It is a low, almost square structure, each of its four walls being pierced by five arches, the two end ones being wider than the others...There is very little about the building that calls for remark save its severe plainness...' General view. This view is reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl.xiv (b), and the tomb described pp. 53-54: '...It is evident he thought more of his religion than he did of his own glorification, for the tomb is but a poor mean edifice. It is situated in the fields in the sout-west quarter of the city. It is a low, almost square structure, each of its four walls being pierced by five arches, the two end ones being wider than the others...There is very little about the building that calls for remark save its severe plainness...' General view. Top of sanctuary tower out of focus. General view. Two copies (second copy a gelatin silver print). General view. Two copy negatives, no print. General view. Unsigned, but probably Bourne no. 1368. General view. Vignetting at corners of image along top edges. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. General view. Vignetting at corners of image along top edges. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. General view. W. Campbell was the District Superintendent of Police. General view. With shikara, largely intact, in foreground and open mandapa with tiered pyramidal roof beyond. This and the nearby Jain temple are described in paragraph 67 of Cousens' report. General view (base only) of the entrance gateway to the temple complex. The pyramid was not built. Print 41 was probably photographed from the top of this structure. General view (distant), looking eastwards across the Waghora River valley. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2055). General view (distant). General view (distant) of ruined palace site. Recorded as No. 337 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Calcutta, 1919), p.233. General view (from the north-west?).[Gelatin silver print, 141x92mm]. General view (poorish quality) of the two monolithic shrines. General view (slightly distant) from the south-east. General view (slightly distant) of temple fa�ade with three openings. General view (slightly distant) of two rathas at Mamallapuram. General view (slightly distant) with river in foreground. General view (slightly faded) of the Kirthi Stambh (Tower of Fame). General view (small circular image). General view (somewhat faded) of All Souls' Memorial Church. General view (somewhat indistinct) of group of temples, the Makareshvara Temple at the left and the Jagatheshvara Temple (partly obscured by trees) at right. General view across citadel. General view across citadel after demolition of modern village. General view across court towards prayer hall. General view across courtyard. General view across excavated site, with the Archaeological Museum and the Jain Temple in the background. Right-hand section of two-part panoramic view, continued from print 444. General view across the durbar hall. Print in very poor condition. General view across the town. Compare with Photo 305 (4), a photograph taken from the same position and within a few moments of this one. General view after excavation. General view after restoration of site. General view along a road with two-storey houses on the right. General view along the colonnade of pointed arches. General view along the columned hall, during Lord Lytton's viceroyalty. This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, captioned in the negative and blind-stamped 'Bourne & Shepherd India', 286x205mm]. General view along the fa�ade of the verandah, all the columns of which are broken to a greater or lesser degree. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2085). General view along the overgrown bazaar street. General view along the walls of the fort. Duplicate at Photo 1008/7 (1193).[203x153mm]. General view before restoration of the reservoir at the base of the building. General view form along the hillside looking down onto 'Durdens' the house lived in by John and Clara Younghusband at Murree. Photograph reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), pp. [Albumen print, signed 'W. Baker 426' in the negative, 294x203mm]. General view from above, looking down onto the fort and plains beyond. General view from above. General view from a courtyard of the zanana or women's quarters in the fort. Duplicate at Photo 430/27 (11) where it's described as Randhir Singh's Palace.. General view from a different angle. General view from a different angle. General view from a distance, looking towards the walled tomb. General view from an elevated position (a gopura of the temple), looking down onto the temple complex and tank beyond. General view from an elevated position outside the temple complex, with the entrance gopura in the foreground. General view from another viewpoint. General view from a position in front of the cave. Described in M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), pp.244-252. General view from below, looking up the slope towards the temple. General view from below. General view from below. General view from below. General view from below (distant. General view from below looking up the steps towards the Buland Darwaza. General view from Chowringhee Road.[Gelatin silver print (modern copy), 229x151mm]. General view from court. General view from court looking towards entrance. General view from drive, showing newly completed buildings. General view from drive; a poor quality photograph. General view from driveway, looking towards porte-coch�re.[Gelatin silver print, 140x102mm]. General view from driveway, looking towards porte-coch�re of the Residency. Caption notes read: 'Used as residency from the days of Sir Mark Cubbon, 1834, and enlarged by Mr Bowring and Sir Richard Meade. During the regime of Mr R.A. Dalyell, a wooden dining room was added, - known as the 'Serapis Hall' named after the ship in which H.R.H. the Prince of Wales visited India - to entertain His Royal Highness in, though he did not visit Bangalore owing to an outbreak of cholera. Later, this was replaced by the present structure known by the same name. The Residency was built from Mysore State funds and handed over to the British Govrnment, at the Rendition, in exchange for the Fort of Bangalore, which, up to that date, was British territory by right of conquest.' Duplicate at Photo 2/9 (1). General view from driveway.[Albumen print, 155x74mm]. General view from driveway.[Albumen print, 236x141mm]. General view from driveway.[Gelatin silver print, 291x241mm]. General view from driveway.[Platinum print, signed 'Townshend Phot.' in the negative, 295x205mm]. General view from driveway.[Silver printing-out paper, 136x81mm]. General view from driveway. General view from driveway. General view from driveway. General view from driveway. General view from driveway looking towards main entrance portico. General view from driveway looking towards porte cochere and tower.[Gelatin silver print, 205x155mm]. General view from driveway looking towards porte-coch�re and main fa�ade of the building, designed in European classical style. General view from driveway looking towards the main front with porte-cochere and watertower beyond. Designed by James Trubshawe and completed in 1866, the buildings are now part of the University. Print unsigned, but numbered in style of Deen Dayal. General view from driveway looking towards the two storey stone bungalow. Photograph attributed to William Baker or John Burke in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), pp. 24-25. General view from driveway of the brick and timber framed building. General view from driveway of the bungalow at Dharwar (modern Dharwad). General view from driveway to left of house. Reproduced in Lord Curzon's 'British Government in India' (London, 1925), vol. 1, facing p. 144, and there dated 1924. Curzon purchased Hastings House for the government in 1901 for use as a guest house for Indian princes or other 'visitors of great distinction.'[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 293x172mm]. General view from entrance. General view from entrance looking along avenue towards the Taj. General view from garden. [98x78mm]. General view from garden.[Gelatin silver print, 134x78mm]. General view from garden.[Gelatin silver print, 276x161mm]. General view from garden.[Gelatin silver print, on card mount stamped 'Verascope Richard, 10 rue Halevy, Paris', 115x86mm]. General view from garden.[Lantern slide, 75X75 mm]. General view from garden.[Silver printing-out paper, 205x150mm]. General view from garden.[Silver printing-out paper, 213x150mm]. General view from garden.[Silver printing-out paper, 238x165mm]. General view from garden. Inscribed in pencil on reverse: 'No. 323. The Chuttur Munzil & Farhad Baksh Palace (Lucknow).' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'Burke 323' in the negative, 213x161mm]. General view from garden. Modern print.[Gelatin silver print, 129x88mm]. General view from garden. General view from garden. General view from garden. General view from garden. General view from garden. General view from garden. General view from garden. General view from garden. General view from garden. General view from garden. General view from garden of Steel Bros. and Co. bungalow, a single-storey thatched building on piles.[100x80mm]. General view from garden of the European-style building. General view from garden of the half-timbered building. Unsharp. General view from gateway.[Albumen print, 205x167mm]. General view from gateway. General view from hillside, looking down onto the ruins of the Surya Temple. Albumen print duplicate at Photo 1000 (1252).[Carbon print ('Autotype'), 229x169mm]. General view from hillside: 'Achalesvara is the most disreputable corner of the Abu plateau. The great sacred kunda or reservoir, undoubtedly the oldest object of interest to be seen here, with its little old brick shrines around its margin and the famous effigies of Adipala and the buffaloes, are in utter ruin...The interior of the kunda, save for a filthy puddle or two, now almost dry, presents a spectacle of terrible neglect, the accumulated neglect of many years and the gradual silting up of ages...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1901, p. 7). The view looks across the dried-up tank towards the temple on the far side, with other shrines dotted around. General view from inside the wall, showing the ruinous condition of the porch (containing nandi) in the in the right foreground. General view from landward of an unidentified lighthouse. General view from left. Duplicate of Photo 1008/9 (2651). Another copy at Photo 3/2 (121).[Gelatin silver print, 151x200mm]. General view from lower down hillside. Duplicate at Photo 1008/7 (1513).[153x203mm]. General view from main gateway. General view from neighbouring hillside. Albumen print duplicate at Photo 1000 (1269).[Carbon print ('Autotype'), 229x179mm]. General view from north-east. 'Just outside the courtyard on the north, and left out in the cold by its high wall, is a smaller ruined shrine [whose]...workmanship has all the appearance of the 7th or 8th century A.D., if not earlier. The construction is much more massive, and its mouldings and sculpture partake of the bold, heavy, but well-executed work of the caves. The wall mouldings are few, heavy, and vigorous, while the sculpture has more decision and character than even that of such temples as tha Navalakha at Sejakpur....The shrine walls alone stand, the mandapa having fallen...On the north is [a sculpture panel of] Ganga Devi standing upon a makara or alligator...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 3). General view from north-west. General view from NW. General view from opposite bank.. General view from Ornamental Garden. General view from outside complex, looking towards entrance porch, with domed vimana beyond. The main entrance tower of gopura can be seen in the background (and also in print 1424D). General view from outside exterior wall. General view from outside looking towards the stone perimeter wall surrounding the dak bungalow. The building itself is not visible. General view from outside the enclosing wall. General view from outside the fort. General view from outside the perimeter wall, from the north-east. General view from outside the perimeter wall. General view from outside the temple, looking towards the entrance gopura. General view from outside the temple complex. General view from outside the the Jami Masjid, from the south-east. The gateway seen at the left is the south gate, not the north as stated in the caption. General view from platform of temples seen in print 61, with stupa base in foreground and temples beyond. Archaeological Reconnaissances, fig. 13: 'Ruined base of stupa, seen from temple terrace.' General view from River Tigris. General view from road. Note on the reverse identifies the building as the Gymnasium (as does the inscription above the portico). General view from road. General view from roadway, with mosque at left and tomb at right. General view from roadway in front of building.[Gelatin silver print, 109x62mm]. General view from side. General view from side. General view from south-east, from an elevated position. General view from south-east, looking towards porch. General view from south-east. General view from south-west. General view from south-west. General view from south-west. General view from street.[Printing-out paper, 320x255mm]. General view from street. Duplicate at Photo 1058/22 (21), there identified as the Semsipasa Police Station.[Printing-out paper, 307x247mm]. General view from street. General view from street of arched entrance passageway. General view from street of Nahar Saadat Khan Gate. General view from street of Rangoon Municipality Central Fire Station. General view from the artificial lake in front of the building. General view from the bank of the Jumna. Duplicate at Photo 96/1 (9).[Albumen print]. General view from the banks of the Jumna. Small faded print. General view from the banks of the Jumna. General view from the beach. General view from the Bosphorus.[Albumen print, 309x366mm]. General view from the Bosphorus.[Albumen print, 369x298mm]. General view from the court in front of the sleeping pavilion. General view from the courtyard in front of the building. Caption note continues: 'In the foreground, on the left, Captain Ma who led the force which overthrew him; in front of the palace, supply and ammunition-waggons loading up with loot from the palace which was full of jade, raw opium and other valuables.' For a portrait of General Ma, see print 75.[Sepia toned gelatin silver print, mounted on card with typescript caption, 285x214mm]. General view from the drive, with carriages standing in the foreground. General view from the drive. General view from the drive. General view from the driveway, looking towards the porticoed porte-coch�re. General view from the driveway: 'The divisional officer's bungalow, locally called the Castle, was built at great cost by a former collector, Mr Brett (1859-62), when Hosur was the head-quarters of the District. It is in the style of an English mediaeval castle, with turrets, battlements, a moat, &c. It was purchased by Government in 1875 for Rs. 10,000' (Imperial Gazetteer of India, XIII, pp205-6). General view from the driveway.[Captioned and signed 'Mela Ram No. 63' in the negative, 281x226mm]. General view from the driveway. General view from the driveway of a substantial two-storey wood-built bungalow, with verandahs running round the house on both floors. With a group of servants posed in the garden and a European couple seated in a carriage in front of the entrance. General view from the driveway of the building, built 1815-57 in a mixed Indian-European style and also known as the Vinai Vilas Palace. 'This palace is situated about two miles from the town of Ulwur, and is used as the residence of the Political Agent [ie Impey himself at this time]. Both stories have the advantage of broad double cornices, like those of the pavilions at Deeg. It is, however, so recent that it shows some traces of Italian design, which is fast obliterating the beauties of the Indian styles.' For a later view, see Photo 169/2(31). General view from the driveway of the large teak-built house. General view from the driveway of the Town Hall, a modern building in Indo-Saracenic style. Duplicate at Photo 10/6 (29). General view from the driveway of the Town Hall, a modern building in Indo-Saracenic style. Duplicate at Photo 17/3 (24). General view from the driveway of the two-storeyed, verandahed building General view from the east, with the Tophane Fountain in the foreground.[Albumen print, 384x307mm]. General view from the east. General view from the east. General view from the east. General view from the east. General view from the east of dilapidated domed tomb. General view from the entrance, with sentries on either side of the gateway.[Printing-out paper, 320x254mm]. General view from the entrance driveway. General view from the entrance gateway, looking across the the garden towards Itimad-ud-Daulah's Tomb.[Albumen print, 83x97mm]. General view from the exterior. The entrance gateway is at the left, with the main mosque building, a small, triple-domed structure, at the right. India Museum no. 210. Duplicate of Photo 1000 (3429). General view from the Fort.[Printing-out paper, 241x176mm]. General view from the fort.[Silver printing-out paper, 154x105mm]. General view from the garden, looking towards the bungalow, with its bow-fronted verandah, before the new wing was added (see print 217e).[Albumen print, 230x166mm]. General view from the garden, with a horse and carriage and domestic servants posed in the foreground. Smaller duplicate print at Photo 806/4 (98). General view from the garden, with a numbered of unidentified officials gathered around the entrance. Faded print.[Silver printing-out paper, 242x193mm]. General view from the garden.[Albumen print, 83x96mm]. General view from the garden.[Woodburytype, 173x139mm]. General view from the garden. Duplicate at Photo 37 (41). General view from the garden. Duplicate at Photo 37 (41). General view from the garden. Printed from a broken glass plate.[?Gelatin developing-out paper, 275x228mm]. General view from the garden. Similar view at Photo 430/27 (1). General view from the garden. Small faded print. General view from the garden. Small faded print. General view from the garden. General view from the garden. General view from the garden. General view from the garden. General view from the garden. General view from the garden. General view from the garden looking towards the substantial two storey brick 'bungalow'. Posed in front of the verandah are Mr and Mrs Ernest Bell and it is assumed that this is their residence. This Eastern Bengal State Railway staff house can also be seen in Photo 335/10 (30). Albert Ernest Seymour Bell was an Executive Engineer with the railway. General view from the garden of a substantial two storey house of half-timbered brick. General view from the garden of Steel Bros. and Co.'s bungalow.[104x78mm]. General view from the garden of the brick-built residency. General view from the garden of the two storey brick building. General view from the garden of the two-storey house. General view from the gardens, with a large pool in the foreground. General view from the gardens. General view from the gardens of the palace in classical style used by the Nizam 'for the accommodation of Native guests of rank'. General view from the grounds. Duplicate at Photo 430/50 (4). General view from the grounds. General view from the grounds. General view from the grounds. General view from the grounds. General view from the grounds with staff and carriages on the drive. General view from the grounds with three Europeans posed in the foreground and a gardener watering plants on the left. Below the print is the inscription: 'To D.C. Macnabb, Esquire, Commr of Peshawar'.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. General view from the Gumti. General view from the hillside behind, looking down onto and westwards over the temples.[Gelatin silver print, 304x254mm]. General view from the Hippodrome, with the Egyptian Obelisk on the extreme left.[Albumen print, 325x261mm]. General view from the Hippodrome.[Albumen print, 325x260mm]. General view from the lawn. General view from the line, with overbridge in foreground. Print stamped 'Enclosure No. 6 to Agent's Finance Letter no. 1526 dated 31.10.1927'. General view from the line of the single-storey brick building. Print stamped 'Enclosure No. 6 to Agent's Finance Letter no. 1526 dated 31.10.1927'. General view from the line of the two-storey brick building at Kemendine, a district of Rangoon. Print stamped 'Enclosure No. 6 to Agent's Finance Letter no. 1526 dated 31.10.1927'. General view from the Maidan, with the Bishop's Palace on Chowringhee Road visible at the right.[Alvumen print, 83x96mm]. General view from the Maidan, with the south-eastern archway in the foreground.[Albumen print, 81x94mm]. General view from the maidan. General view from the main gateway. General view from the muddy road leading up to the brewery, built in 1860 and probably seen here not long after its opening. The photograph is possibly by William Baker rather than Burke. Reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 51. General view from the north.[Albumen print, 380x303mm]. General view from the north. Duplicate (later printing) of Photo 1000 (3115). Another copy at Photo 212/6 (17). General view from the north. General view from the north. General view from the north bank of the Cauvery. General view from the north-east, taken from an elevated viewpoint. Print unsigned, but probably by Johnston & Hoffmann. General view from the north-east, taken from ground level and closer than print 26. Print unsigned, but probably by Johnston & Hoffmann. General view from the north-east, taken from the junction of Waterloo Street and Government Place. Dated 1872 in Lord Curzon's hand on the reverse.[Silver printing-out paper, 245x133mm]. General view from the north-east, with the Buland Darwaza visible on the skyline in the left background.[Albumen print, 217x165mm]. General view from the north-east: 'The building was damaged by the great flood of 1875, but at a much earlier date brick walls were built at the north and south sides of the court [visible in left foreground] cutting off the larger portion of the minarets which at first must have stood entirely within the court, and this very seriously spoils their appearance...' (James Burgess, The Muhammadan Architecture of Ahmadabad (part II, Archaeological Survey of Western India, vol. VIII, London, 1905, pp.46). General view from the north-east.[Albumen print, 236x183mm]. General view from the north-east. India Museum no. 1508. Annotated 'From Dr Leitner's negative, 1/7/73.' Duplicate of Photo 1000 (3265). General view from the north-east. Recorded as No. 307 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Calcutta, 1919), p.218. General view from the north-east. General view from the north-east. General view from the north-east. General view from the north-east. The King's Gate forms the east entrance to the courtyard of the Jami Masjid. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 3. General view from the north of masonry wall and octagonal tower. A watchtower rather than a zenana. Duplicate (later printing) of Photo 1000 (3134). Another copy at Photo 212/6 (36). General view from the north-west.[Albumen print, 378x302mm]. General view from the north-west. Duplicate of Photo 1008/11 (1171D).[204x153mm]. General view from the north-west. Second copy negative at B.25631. General view from the north-west of the Octagonal Watchtower. General view from the outermost gopura, looking over rooftops towards the main temple complex. General view from the perimeter, looking across the tank and grounds, towards temple buildings.[Gelatin silver print, 293x194mm]. General view from the quadrangle. General view from the river.[Albumen print, with photographer's blindstamp in bottom right-hand corner, 276x209mm]. General view from the river bank. Much of the temple was destroyed in the earthquake of 1975. Compare the photograph from an identical viewpoint in Paul Strachan, Pagan (Kiscadale, Arran, 1989), p. 38. General view from the riverside looking towards Sati Chaura Ghat.[Albumen print, 281x234mm]. General view from the road.[Gelatin silver print, 286x323mm]. General view from the road. Date of construction 1913. General view from the road. General view from the road. General view from the road. General view from the roadway looking towards the corrugated-iron roofed building, with some kind of function under way on the verandah.[Printing-out paper, 198x143mm]. General view from the sea (different angle from print 63).[Albumen print, 204x264mm]. General view from the shore. General view from the south, looking along the avenue from the top of the main entrance. Stamped on reverse 'Received 20 May 1933 G.I.P. Publicity'. General view from the south. General view from the south. General view from the south. General view from the south. General view from the south-east, with the mosque at the left and the tomb at the right. The mosque is partly obscured by the wall in the foreground. General view from the south-east.[Albumen print, signed 'Sach� 206' in the negative, 284x231mm]. General view from the south-east.[Albumen print]. General view from the south-east. General view from the south-east. General view from the south-east. General view from the south-east. General view from the south-east. General view from the south-east corner of the grounds. Dated 1898 on the reverse in Lord Curzon's hand.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 280x200mm]. General view from the south-west, looking across the garden towards the building. Print probably made in the 1890s.[Silver printing-out paper, 234x178mm]. General view from the south-west, showing the Potala and buildings at its foot to the south. The Bargo Kani Gateway can be seen in the bottom left-hand corner.[Gelatin silver print, 142x95mm]. General view from the south-west, slightly distant. General view from the south-west, with Colvin's Tomb in the foreground. General view from the south-west.[Gelatin silver print, 142x94mm]. General view from the south-west.[Gelatin silver print, 159x106mm]. General view from the south-west. General view from the south-west. General view from the south-west. General view from the south-west. General view from the south-west of the 'Pancha Rathas', uncompleted temple-like monoliths that have been compared to mobile shrines or chariots (rathas). In the foreground is Dharmaraja ratha, with the Bhima ratha beyond. In the background, extreme left, is the Nakula Sahadeva ratha. General view from the street, of the private school.[Albumen print, 254x195mm]. General view from the street.[Gelatin silver print, 137x88mm]. General view from the street.[Printing-out paper, 261x319mm]. General view from the street. General view from the street. General view from the street. General view from the street of the entrance to the temple. B. R. Pearn, 'History of Rangoon' (Rangoon, 1939, p. 195), records land grants having been made by the 1850s for a Chinese temple on Dalhousie Street and a 'Foken Chinese Temple' on Strand Road. General view from the street of the main railway station at Surabaya.[Printing-out paper, 171x122mm]. General view from the street of the small, single-storey hospital.[Gelatin printing-out paper, 293x215mm]. General view from the street of the two storey building.[Printing-out paper, 317x260mm]. General view from the street of two storey building.[Printing-out paper, 318x261mm]. General view from the street of two storey building.[Printing-out paper, 320x260mm]. General view from the tennis courts. General view from the Tigris river, slightly unsharp.[Printing-out paper, 244x191mm]. General view from the top of the entrance gateway. General view from the top of the entrance gateway. General view from the top of the gateway. General view from the top of the gateway. General view from the top of the main gateway. General view from the top of the top of the south gopura looking north over the temple complex, with the Mulasthana Shrine in the foreground, the Shivaganga Tank beyond and the Raja Sabha in the right background. General view from the tracks. General view from the village below, of the dzong or fort at Dukye, with snow-capped mountains beyond. Photograph also appears in 'The National Geographic Magazine' (Apr 1914, p. 368), with the following caption: 'The fortress of Dug-Gye Jong, magnificently situated among ideal scenery, on a spur running into and commanding the valley. It was originally built to protect this route from possible Tibetan raids'. Duplicate at Photo 613 (6). General view from the waterfront. General view from the west, looking along the north bank of the tank towards the tomb and the linking causeway. The view shows the tomb during the 1882-83 restoration undertaken by J.D. Beglar. The dome is still swathed in scaffolding, and the small pavilion or kiosk at its summit, which was replaced by a finial in the course of this restoration, has not yet been removed. H.H. Cole, Curator of Ancient Monuments in India, visited the site in March 1883, and gives an account of the work, together with sketches, in his annual report (Second report of the Curator of Ancient Monuments in India, for the year 1882-83 (Calcutta, 1883), Appendix F, pp. xcvii-xcviii. His first sketch is taken from an almost identical viewpoint as this print, while his second, a closer view of the tomb, is very similar to print 489. It is possible that the sketches were in fact copied from these photographs (as was certainly Cole's practice in other reports) and a probable date for the photographs is therefore March 1883. The fact that Cole in an earlier report mentions the taking of photographs by Beglar also raises the possibility that the Garrick attribution is incorrect. General view from the west, looking towards the Qutb Minar, with the archway of the Quwwat-ul-Islam Mosque in the foreground, and the dome of Alai Darwaza visible in the right background.[Woodburytype, 143x179mm]. General view from the west, of the temple in the outer part of the Vimalavasi Tuk on the Southern Ridge. Another copy of this print at Photo 1000 (764). General view from the west, similar to print 65, but slightly closer.[Gelatin silver print, 141x92mm]. General view from the west.[Gelatin silver print, 284x241mm]. General view from the west. General view from top of entrance gatehouse, looking across the garden to the tomb.[Silver printng-out paper, photographer's wet stamp on reverse, 283x212mm]. General view from top of entrance gateway. General view from top of entrance gateway. General view from top of entrance gateway. General view from waterfront. Print in poorish condition, with overall spotting.[Albumen print, 310x376mm]. General view from waterfront. General view inside the durbar hall.[Albumen print, 136x97mm]. General view inside the monastery. General view in the courtyard of the Quwwat-ul-Islam mosque. General view in the Husainabad Imambara complex. General view in the Mahasati. General view in the palace complex. General view in the palace grounds. General view looking across a canal, with a boat moored in the foreground, towards the teahouse. General view looking across court towards east fa�ade of mosque. General view looking across court towards prayer hall. General view looking across court towards temple complex. General view looking across court towards the main face of the building.[Silver printing-out paper, 150x106mm]. General view looking across courtyard towards the house. Duplicate at Photo 430/27 (13), there captioned 'House of Sumroo Sahib, Bhurtpore, used as dispensary'. Duplicate at Photo 430/27 (20). General view looking across excavated area. General view looking across fields towards the Palkor Chode Monastery. General view looking across gardens towards the house. General view looking across garden towards school building.[Albumen print, 250x188mm]. General view looking across garden towards the bungalow, with servants and a family group posed in the foreground. On the left a man is seated on a tricyle. A faded and yellowed print.[Albumen print, 264x189mm]. General view looking across garden towards the Residency building. Slightly faded print.[Gelatin silver print, 109x78mm]. General view looking across lake towards the building. This probably shows Nargaiwna, the palace where Sir James Sifton stayed during his visit to Darbhanga. General view looking across lake towards the buildings.[Gelatn silver print, 129x79mm]. General view looking across lawn towards the house. Pencilled notes on the mount in Temple's hand read: 'Kitchen [building at left of main house] - upper floor: bedroom & sitting room - Library [and[ drawing room with side views. Lower floor - offices - scaffolding of new staircase.' General view looking across open ground towards the walls of the Bala Hissar. This view links with print 8 to form a panoramic view of the Bala Hissar. Duplicate (in better condition) at Photo 197 (33 [right hand portion]). General view looking across parade ground towards barracks. Print in poorish condition, with overall spotting.[Albumen print, 390x305mm] General view looking across parade ground towards buildings. General view looking across pool towards temple. Duplicate at Photo 1000 (1283).[Carbon print ('Autotype'), 173x219mm]. General view looking across tank and showing small central shrine. General view looking across tank towards building.[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 288x203mm]. General view looking across tank towards building. Duplicate of print 283.[Gelatin silver print, 162x161mm]. General view looking across tank towards building. Enlarged duplicate of print 285.[Gelatin silver print, 264x201mm]. General view looking across tank towards the mosque. General view looking across tank towards the temple. General view looking across tank with central shrine. General view looking across terraces towards the palace, with the rock-face beyond.[Gelatin silver print, 287x237mm]. General view looking across the (dry) moat towards the overgrown wall of the fort. Corner bastion in the foreground. Prasada of the palace in the left background. General view looking across the Bosphorus, towards the Imperial School buildings.[Albumen print, 295x371mm]. General view looking across the court of the Jami Masjid. Small snapshot. General view looking across the court towards the Cathedral Church of Saint Gregory. Published: H. F. B. Lynch, 'Armenia. Travels and studies' (2 vols., 1901), vol. 1, fig. 49, captioned, 'Edgmiatsin: the Great Court and the Cathedral.' General view looking across the court towards the east fa�ade of Shah Alam's Mosque. The building is largely obscured by a tree growing in the foreground. General view looking across the court towards the Jami Masjid.[Albumen print, 206x154mm]. General view looking across the court towards the main fa�ade of the mosque. The interiors of the three arches are decorated with encaustic tiling. General view looking across the court towards the mosque.[Albumen print, 235x184mm]. General view looking across the courtyard to the mosque. General view looking across the courtyard towards the main building of the mosque. The courtyard is crowded with worshippers. General view looking across the disused tank towards temple towers. General view looking across the gardens. General view looking across the garden towards Humayun's Tomb.[Albumen print, signed 'Sach� 119' in the negative, 288x233mm]. General view looking across the garden towards the school building.[Albumen print, 255x194mm]. General view looking across the garden towards the Taj. Photograph uncredited, but probably by Pl�t�.[Platinum print, 284x195mm]. General view looking across the garden towards the tomb, from the top of the entrance gateway.[Developing-out paper, 289x235mm]. General view looking across the Green towards the Town Hall, with carriages parked in the foreground.[Albumen print, 232x193mm]. General view looking across the Gumti river. General view looking across the Kagithane river towards the factory buildings.[Printing-out paper, 311x246mm]. General view looking across the lake towards the main fa�ade of Government House, the building framed by a tree in the foreground. A note in Lady Bayley's hand beneath the print reads, 'Our rooms June 1861'. [293x238mm.] General view looking across the market place towards the mosque.[Albumen print, 268x190mm]. General view looking across the nave towards the chancel. General view looking across the nave towards the chancel. General view looking across the neatly laid-out lawns towards the house, a two storey building in 'chalet' style, with a vrandah on the first floor over the main entrance. Pencilled notes in Temple's hand on the mount read: 'Upper floor - drawing room glazed verandah. Sentries over house [on duty in main entrance]. Lower floor - billiard room & porch - over porch - glazed room used as an ante-room & private dining room.' General view looking across the overgrown court towards the small mosque. General view looking across the park towards the City Hall, whose architecture combines aspects of western and oriental design. General view looking across the plain towards the ruined stupa. Depar Gangro is situated some six miles north-east of Brahmanabad. The print is reproduced as Plate L (a) in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). General view looking across the river towards the massive fort. 'The fort, which is said to have been constructed in A.D. 1757 by Ismael Khan, first Navab of Elichpur, is one of the most perfect and compact in Berar. It crowns the high ground between two branches of the river. Its walls and bastions, which are very lofty, are built entirely of the best brickwork of the period. There are two lines of circumvallation, the inner towering up the whole height of the walls above the outer...As this fort is such a complete specimen and at present in fairly good preservation it should not be allowed to fall into decay...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 4). General view looking across the site towards the Dhamekh Stupa. General view looking across the square towards the buildings.[Albumen print, 384x309mm]. General view looking across the tank towards St Paul's Cathedral.[Albumen print, 227x179mm]. General view looking across the tank towards the building.[Gelatin silver print, 163x121mm]. General view looking across the tank towards the fort and palace. General view looking across the tank towards the Golden Temple. General view looking across the tank towards the Golden Temple. General view looking across the tank towards the new Bengal Club. General view looking across the tank towards the palace buildings. General view looking across the tank towards the temple. General view looking across the tank towards the temple. The pencilled catalogue reference '407' on the reverse of the print identifies this as a Bourne & Shepherd photograph.[Albumen print, 278x175mm]. General view looking across the tank towards the tomb. General view looking across the temple enclosure (from the north?).[?Collodion printing-out paper, signed 'M.P.' in the negative, 297x152mm]. General view looking along a street of thatched houses towards the temple gopura. Photograph attributed to H.H. Cole in Bloch's list, but almost certainly one of the series of views taken for Cole by Nicholas & Co. General view looking along a street of thatched houses towards the temple gopura. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly one of the series of views taken for Cole by Nicholas and Co. of Madras. General view looking along path towards the south (rear) fa�ade. General view looking along road towards arched gateway: 'Two miles further down the road brings us to the southern rampart of the city, through which the road passes, under a magnificent archway known as the Kotwali Gate. It is fifty-one feet under the arch, and was provided with a semicircular abutment on either side, for the military guard on duty. Even in its present ruined state, this gateway is one of the most imposing sights in Gaur; tamarind trees overhang it on all sides, while large pipal trees may be observed springing from the centre of its walls.'See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 76), which shows the gateway in present very ruinous condition.235x188mm].[Woodburytype, General view looking along street, Taj Mahal in the distance. General view looking along the ballroom towards the platform at the far end, during Lord Lytton's viceroyalty. This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, captioned in the negative and blind-stamped 'Bourne & Shepherd India', 289x214mm]. General view looking along the banks of the Jumna towards the Taj.[Gelatin silver print, 293x236mm]. General view looking along the central nave of the Pudu Mandapa. Duplicate (later printing) of Photo 1000 (2924). Another copy at Photo 212/1 (25). General view looking along the fa�ade of the building.[Albumen print, 379x308mm]. General view looking along the fa�ade of the bungalow in the palace grounds where King Thibaw surrendered to the British in 1885.[122x97mm]. General view looking along the fa�ade of the gateway. Captioned and dated in the negative. For description, see Syad Muhammad Latif, Lahore: its history, architectural remains and antiquities (Lahore, 1892), p.134: 'On the road to Shalimar, rather more than halfway on the left, is the gateway to Gulabi Bagh, or the Garden of Rosewater. The garden no longer exists, but the splendid arched entrance of glazed tiles still stands. The picturesque gateway is remarkable for the profusion and excellence of its colored pottery and enamelled frescoes, which are as vivid, and the decorations as perfect, as when they were made...' General view looking along the fa�ade of the gateway from the right. Negative damaged in bottom left-hand corner. Captioned and dated in the negative. General view looking along the fa�ade of the Terkhan Kiosk.[Albumen print, 259x199mm]. General view looking along the Gumti river towards Munim Khan's Bridge. General view looking along the hall, with galleries above. Compare the later Photo 10/22 (6), taken from the same viewpoint and showing that much of the heavy timber framing was a later addition. General view looking along the lake towards the main building, with the column designed by J.P. Parker in the foreground.[Albumen print, 257x153mm]. General view looking along the length of the columned hall.[Gelatin silver print, 288x228mm]. General view looking along the length of the heavily timbered room General view looking along the length of the room, with Kitchener's portrait hanging over the mantelpiece at the further end. General view looking along the length of the room towards the fireplace. General view looking along the length of the Throne Room.[Gelatin silver print, 285x229mm]. General view looking along the pillared hall towards the doorway with its elaborate carved stone surrounds; the ceiling of the mandapa has collapsed. See Henry Cousens, 'Tha Chalukyan Architecture of the Kanarese Districts' (Archaeological Survey of India, vol. 42, New Imperial Series, Calcutta, 1926), pp. 94-96.[Albumen print, 215 x 184 mm]. General view looking along the pool towards the Imambara. General view looking along the roadway towards the somewhat dilapidated Lahore Gateway into the city, situated to the north of the Bala Hissar. Other copies atPhoto 98 (14) and Photo 449/1 (5). General view looking along the Strand Road facade of the nearly-completed courts. A pencilled note on the reverse of the print, evidently the draft of a press release, reads: 'Rangoon's new Police Courts are to be completed at the beginning of next year. It will be Burma's finest and most up-to-date building, having cost half a crore of rupees to erect. The design of the building, by Mr T.O. Foster, FRIBA, graced the walls of the Royal Academy. A complete description of the building appears in Saturday's issue of the Rangoon Gazette.' General view looking along the Strand towards the Courthouse. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.576. Photograph unsigned, but probably by J. Jackson. General view looking along the street towards the Char Minar. General view looking along the street towards the gopura. Photograph attributed to H.H. Cole in Bloch's list, but almost certainly one of the series of views taken for Cole by Nicholas & Co. General view looking along the street towards the gopura. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly one of the series of views taken for Cole by Nicholas and Co. of Madras. General view looking along the street towards the rock in the distance, with a mosque and tomb in the left foreground. Albumen print, 370 x 275 mm. General view looking along the track towards the monastery buildings. Similar to print 149 and taken on the same occasion, but a closer view. General view looking along the wall and moat. Albumen print, 354 x 260 mm. General view looking along the wood-panelled room. General view looking along wall towards the pagoda.[Albumen print, 291x225mm]. General view looking down a narrow street towards the temple of Devi with its gilded cupola, later destroyed in the earthquake of 1905 and later rebuilt. Signed 'H.B.C.' in the negative. Probably the same photographer as print 102. General view looking down into trench and showing excavated walls. General view looking down onto buildings. Print in poor condition, overall fading and yellowing.[Printing-out paper, 322x259mm]. General view looking down onto circular open-sided building with conical thatched roof.[Albumen print]. General view looking down onto house. General view looking down onto Residency buildings and garden, with washing laid out on the ground to dry in right background. General view looking down onto temple. General view looking down onto the Ghats. General view looking down onto the main building of the Imperial Military Academy, with its central quadrangle. The Bosphorus can be seen in the background, with the European side in the distance.[Albumen print, 252x198mm]. General view looking down onto the mosque from an adjoining balcony. General view looking down onto the octagonal domed tomb, and surrounding cemetery.[Albumen print, 380x310mm]. General view looking down onto the statue of a standing tirthanakara. General view looking down onto the temple. Ambuvachi is the four days in Asarh when, according to Hindu belief, the earth is unclean and agriculture is prohibited. General view looking down onto the temple. General view looking down onto the temple buildings at Ariyankavu, situated a few miles west of Shencottah.Second copy neg at B.10040. General view looking down onto the temple from the hillside above. General view looking east from Rotten Row, showing right to left the Secretariat, the University Convocation Hall, the University library and Rabajai Tower, the Law Courts and (in the distance) the Post Office. General view looking eastwards across the garden towards the Khas Mahal.[Printing-out paper, 206x150mm]. General view looking over rooftops towards mosque.[Albumen print, 303x365mm]. General view looking over rooftops towards the Palace: 'It covers a vast extent of ground, and like most other buildings of the kind in India affords the strongest contrasts on every side between rude magnificance and the most squalid misery...The lofty erection to the left is the seven storied tower described in No. 4. The tower in the centre is the arsenal...' At the right is the arcaded tower overlooking the inner courts. Albumen print, 367 x 261 mm. General view looking over site. General view looking over the Anguri Bagh. General view looking over the Elphinstone Circle Garden. General view looking towards buildings. On the right is the Bara Gumbad and its mosque. T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) incorrectly identifies this is Sikander Lodi's Tomb. The attribution to Cole is probably incorrect. General view looking towards bungalow from garden. Rather faded.[Albumen print, 242x188mm]. General view looking towards cave entrances.[Silver printing-out paper, 129x80mm]. General view looking towards cave entrances along ridge. Section of panoramic view, adjoining section untraced. Innermost Asia, vol. 2, fig. 314: 'Cave temples and shrines in southern portion of Bezeklik site.' (I.A. Map 28, C3). General view looking towards columned entrance porch. 'Before I could inspect the Madhavaraya temple, which is dedicated to Vishnu and is the largest and most important of the three ancient temples at Danayakankottai, I had to employ a number of coolies for a few days to cut down and remove the dense jungle surrounding and growing on the building. To clear the whole site of rank jungle and debris and to root out the vegetation growing on the building would take considerable time and prove a somewhat costly undertaking so I merely removed sufficient jungle in order to get access to the building so that I might inspect it, take photographs, prepare a plan and copy the numerous inscriptions engraved along the outer mouldings of the basement of the building' (Alexander Rea, Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1920-1921 (Madras, 1921), p. 26). General view looking towards columned mandapa. 'On my way to the Seven Pagodas [Mamallapuram] and return, I visited Sadras and Tiruvedandai and made notes for the conservation of the two monuments there and took photographs of the Fort in the former and the temple in the latter. Both of them required to be cleared of the overgrowing vegetation and at least repaired, if they could not possibly be restored.' (Annual Progress Report of the Archaeological Survey of Madras and Coorg for the year 1904-05, Madras, 1905, p. 26). General view looking towards domed vimana, with mandapa in foreground. 'The temple is in a ruinous condition demanding immediate attention. It is not possible to rebuild the missing parts of the outer courtyard as it would be very costly. The gaps and the crevices should be properly repaired to prevent leakage. The vegetation on the ceiling of the vimana of the shrines and the prickly pear which exist all over the courtyard should be carefully removed to stop leakage...' (Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1911-1912 (Madras, 1912), p. 9). General view looking towards doorway flanked by carved guardian figures, with miniature shrines with pyramidal roofs on either side of the stairway in the foreground.[Albumen print, 350x240mm]. General view looking towards doorway of the ruined temple. Print made from warped film, with consquent distortion at left side of photograph. General view looking towards east front.[Albumen print, 213x132mm]. General view looking towards entrance. General view looking towards entrance stairway, with pyathat (tiered roof) beyond. General view looking towards entrance to brick building. General view looking towards entrance to cave. General view looking towards entrance to temple. General view looking towards fort. General view looking towards fort walls, with ruined (?)bastion in centre. General view looking towards gateway. Duplicates at Photo 1008/9 (2261) and Photo 3/1 (24).[203x152mm]. General view looking towards gateway. General view looking towards gopura, with shrines beyond. General view looking towards hospital. Print in poor condition, with overall spotting.[Albumen print, 374x299mm]. General view looking towards main entrance.[(?)Collodion printing-out paper, 156x109mm]. General view looking towards main entrance. General view looking towards monastery buildings and shrines of the Taung-min-gyi Pagoda on the western shore of the Thaungthaman Lake at Amarapura. A small portion of the teak bridge across the lake (which still survives), can be seen on the left (see also print 45). With letterpress note: 'The wooden bridge leads across the Toung-deman Lake to the W. suburbs of the city, at this end of the suburbs are a number of Pagodas and Kyoungs clustering around a colossal figure of Gautama [visible in left background: see print 46]'.Duplicate of Photo 61/1 (44). General view looking towards mound. General view looking towards palace building.[Albumen print, 257x201mm]. General view looking towards prayer hall. General view looking towards rear of house, with tennis courts in foreground.[Albumen print, 204x151mm]. General view looking towards Residency and pavilion. A faded print.[Albumen print, 135x97mm]. General view looking towards rock outcrop dotted with cave temples. On the summit of the rocks stands the Olakkanatha Temple, with the entrance to the Mahishamardini Cave directly beneath. Duplicate (later printing) of Photo 1000 (3084). Another copy at Photo 212/5 (30). General view looking towards ruins. (I.A. Map 28, C3). General view looking towards ruins of the Atadage (the sanctum of the Temple of the Tooth).[Albumen print, signed 'Lawton' in the negative, 282x214mm]. General view looking towards shikara, with domed mandapa at right: '[The temple] faces east. The shrine walls are of the old sculptured types as at Sejakpur, but the mandapa is modern.The sikhara has been repaired and is composed partly of old and partly of new material' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 6). General view looking towards shrine, with gopura beyond. General view looking towards shrine.[Albumen print, 168x217mm]. General view looking towards shrines. Innermost Asia, vol. 2, fig. 315: 'Ruined shrines in northern portion of Bezeklik site.' (I.A. Map 28, C3). General view looking towards site, with diggers posed on the slope. For a descriptive account of the site by Jayanti Ramayya, see Annual Progress Report of the Archaeological Survey of Madras and Coorg for the year 1904-05, Madras, 1905, pp. 38-42. General view looking towards Snowdon, the official residence of the Commander-in-Chief, with guard in the foreground.[Silver printing-out paper, 208x149mm]. General view looking towards Stupa 1, with Temple 18 on the left. View continued to right in print 2.[Gelatin silver print, 200x152mm]. General view looking towards substantial fortified buildings. General view looking towards summit of hill. General view looking towards temple, with chinthes flanking steps up to entrance. General view looking towards temple. General view looking towards temple and ancillary buildings. General view looking towards temple entrance, with building work in evidence: 'Having heard of the extensive repairs that were being carried out to this temple by the Nattukottai chetties, an inspection was made. It was found that the main buildings, including the shrine, had been long ago demolished, and in their stead, the erection of the new buildings had been completed. The only remains of the ancient buildings of the temple that were left uninterfered with, are a hundred-pillared mantapam, an ordinary granite Dvajastambam of about 40 feet in height, and an unfinished gopuram at the entrance to the third courtyard wall. The wall of these courtyards are in complete ruins.' (Annual Progress Report of the Archaeological Survey of Madras and Coorg for the year 1904-05, Madras, 1905, p. 20). General view looking towards temple pagoda and kyoung, with tank in foreground. Letterpress continues: 'This view is from the embankment of a tank N.E. of the city, much of the carved work has been stripped off the kyoung near the pagoda General view looking towards temples, with Kabil visible on the skyline standing on one of the temples. (I.A. Map 28, C3). General view looking towards temple shikara, from the hillside: 'The lower temple of Amritesvara, which is said to have been in existence before the big one [the Sambhu Mahadeva], is of much the same style of work. It is in a very shattered condition and is dangerously unsafe for use, but people use it nevertheless, and stand about unconcernedly under tons of cracked masses of stone whose temporary props look as if they might collapse at any moment' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', pp. 3-4).[Printing-out paper, 208x289mm]. General view looking towards the altar. General view looking towards the castle, with mountains beyond. General view looking towards the cathedral. General view looking towards the Chattar Manzil (used as the United Services Club) from across the Gumti. Hand-coloured print. General view looking towards the city, with the Hiran Minar at the left. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 57, where the following buildings are identified (left to right): Baths and the mint beyond, Diwan-i-Khas, Waterworks, Hathi Pol and Sangin Burj, Birbal's House, Darogha's Quarters with stables to left, Caravanserai. General view looking towards the City Palace complex. General view looking towards the dagaba, showing the path leading up the hillside to the base of the stupa, where a small hut stands. The Et Vehera Dagaba stands on the highest point of the hill at Mihintale, itself especially sacred as the location of King Devanampiyatissa's conversion to Buddhism in 247 BC.[Albumen print, signed 'Lawton' in the negative, 282x218mm]. General view looking towards the Delhi Gate. Inscribed in pencil on reverse '236 Delhi Gate, Fort, Agra.' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'W. Baker 236' in the negative, 212x157mm]. General view looking towards the Delhi Gate. General view looking towards the Delhi Gate of the Fort.[Developing-out paper, 292x240mm]. General view looking towards the domed sanctuary tower. General view looking towards the domed towers over the sancutary, with carved niches along the wall in the foreground. General view looking towards the domed vimana, with mandapa in foreground. General view looking towards the dome of the mosque. Print in very poor condition, with overall spotting and fading.[Albumen print, 251x198mm]. General view looking towards the entrance of the Dalada Maligawa. General view looking towards the entrance porch, similar in style to the Shiva Temple at Kunniparamba, seen in print 416. General view looking towards the entrance to the temple, with a small nandi in the foreground. '...The compact little black-stone temple of Bhavani. It consists of a shrine and mandapa or hall, both being freely decorated upon the exterior with bands of mouldings and figures. The mandapa is curiously arranged with regard to the shrine, being attached as it were sideways to it, the open side with its entrance being on one side or at right angles to the doorway of the shrine. The plan of the mandapa is rectangular, while that of the shrine is star-shaped...The temple is not free from indecent figures...The temple is not in regular use and we found no one living on the spot save a filthy half-demented old man who had taken up his lodgings in the temple and was cooking inside the mandapa... (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 2). General view looking towards the fort, with small tombs in foreground. 'The Fort of Golconda occupies the site of the ancient city of that name, the capital of the Kootub Shaee kings. It is the fortress where political offenders against his Highness the Nizam are imprisoned, and contains the treasury of the latter. For further particulars regarding it, see the lately published edition of the beautiful and interesting collection of photographs of Indian life and scenery, taken by Captain Scott, of the Madras Artillery.' This refers to Allan Newton Scott's 'Sketches in India; taken at Hyderabad and Secunderabad, in the Madras Presidency' (London, 1862): copy at OIOC Photo 961.[Albumen print, 240x196mm]. General view looking towards the fort. Print unsigned, but probably by Bremner. A tightly rolled print.[Albumen print, 273x200mm]. General view looking towards the fort. General view looking towards the gateway of the fortified village. (Ancient Persis Map B3). General view looking towards the hill fort, with fields under cultivation in the foreground. Albumen print, 370 x 235 mm. General view looking towards the hill fort. General view looking towards the hill on which the Kyaik Than Lan Pagoda stands. Photograph unsigned but by Jackson. This print also appears in vol II of H.R. Spearman's 'The British Burma Gazetteer' (2 vols, Rangoon, 1879-80), p.285. Another copy at Mss Eur E290/103 (29). General view looking towards the house, with landscaping work in progress in the foreground. Compare Photo 10/22 (2), which gives a similar view, but with the terraces built and the garden in more mature form. General view looking towards the house, with ornamental pool and fountain in the foreground.[Silver printng-out paper, made c. 1900, 310x179mm]. General view looking towards the ivy-clad ruins of the Residency, with Indian workmen stonemasons at work in the foreground.[Albumen print, signed 'Bourne 1028' in the negative, 283x224mm]. General view looking towards the massive vimana of the Chola period Brihadishvara Temple at Tanjore (modern Thanjavur). General view looking towards the miri, the residence of the Khan of Kalat, with a group of camerla in the foreground.[Sepia-toned print, 267x200mm]. General view looking towards the octagonal tomb surmounted by a dome. The tomb of Anarkali (1615), a paramour of Jahangir, was modified in 1851 for use as the civil station church in Lahore and is here seen with a Christian cross surmounting the dome. One of the minarets is being used as a bell-tower and another has a clock mounted on it. It is now the Punjab Record Office. General view looking towards the pagoda, with the entrance in the foreground flanked by two massive guardian chinthes. Plate 19 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view looking towards the palace. General view looking towards the porticoed north face of the house.[Silver printing-out paper, made c. 1900, 295x231mm]. General view looking towards the rear of the house. A note in Lady Bayley's hand indicates 'Lady C.'s rooms' and gives a dates of 'Sept. 1861'. However, the photograph was probably taken later, at about the same time as print 68 (ie 1864). A further note by the unidentified compiler of the album reads: 'My room [with cross]. Staircase down which [?]we fell the night we ran out to see the comet Aug. 1861.' [288x223mm]. General view looking towards the rock fortress. General view looking towards the rounded stupa. Poor quality snapshot.[64x113mm]. General view looking towards the Royal Tombs at Hyderabad. General view looking towards the stone perimeter walls. General view looking towards the stupa.[Printing-out paper, 96x71mm]. General view looking towards the thatched bungalow from the driveway, with an unidentified European standing in the garden.[Printing-out paper, 204x135mm]. General view looking towards the tomb, with its fortified enclosing wall. General view looking towards the tomb complex, with the tomb in the foreground and the mosque beyond.[Albumen print, 234x182mm]. General view looking towards the tower over the main sanctuary. General view looking towards the two storey barrack building.[Printing-out paper, 310x249mm]. General view looking towards the walls of the deserted palace fortress. General view looking towards tomb.[Printing-out paper, signed '133' in the negative and with pencilled number '10125' on reverse, 291x232mm]. General view looking towards tomb (?Tomb of Bu-Ali Kalandar).[Albumen print, 292x229mm]. General view looking towards tomb and mosque.[Gelatin silver print, 129x70mm]. General view looking towards tower, with courtyard in foreground. Duplicate of Photo 1008/9 (2300).[Silver printing-out paper, 154x214mm]. General view looking towards Trimul Naik's Palace, with the British courthouse in the foreground. Duplicate (later printing) of Photo 1000 (2966). Another copy at Photo 212/2 (26). General view looking towards unnamed temple. General view looking towards wall. General view looking towrads the clocktower. General view looking up from the town below. General view looking up hillside towards buildings. Atisha was an Indian Buddhist sage who visited Tibet in the 11th century. General view looking up hillside towards the stupa. General view looking up slope towards the building, which is very similar in style to the police station at Pasabahce, seen in print 29, with two stories, a cetral tower and a crenellated roofline.[Printing-out paper, 260x314mm]. General view looking up the hillside towards the Markula Devi Temple. General view looking up the hillside towards the temple. General view looking up to the fort with the Chand Minar on the right. General view looking up to the Palace with the fort in the background. General view looking up towards castle. Ancient Persis, fig. 4: 'Inner castle of Qal'a-i-Dukhtar, Tang-ab, seen from north-west.' (Ancient Persis Map, A3). General view looking up towards palace walls. Duplicate of Photo 1008/9 (2325).[Silver printing-out paper, 214x154mm]. General view looking up towards summit of the hill, showing fort walls. General view looking up towards the gate. General view looking up towards the high walls of the Old Palace, built by Badan Singh in 1733. Duplicate at Photo 430/27 (9). General view looking up towards the plain from the plain to the north. General view looking up towards the temple, a small building with pitched roof and deep eaves and a doorway with richly-carved wooden surrounds. General view looking up towards the temple.[Printing-out paper, 150x106mm]. General view of 'modern' pavilions, showing a main entrance with carved figures of men and lions on either side and crowned by peacocks. General view of 'the old temple of Kataresvara, of similar construction to that of Naganatha at Khatav. The pillars are better finished. Along the face of the fa�ade wall are several indecent figures in panels. This building, however, has portions of its original old brick tower remaining shewing that it rose after the Chalukyan style with cusped arches as at Kasivisvesvara at Lakkundi. The brick-work has had a thin layer of plaster over it...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 2).[Printing-out paper, 243x189mm]. General view of (?)Bara Sarang. General view of (?)temple. General view of ablution fountain with projecting roof.[Albumen print, 382x298mm]. General view of a building. General view of a bungalow. Copy print. General view of a bungalow. General view of a bungalow. Mrs Storrs-Fox is standing in the garden. General view of a bungalow. General view of a bungalow. General view of a bungalow. General view of a bungalow. General view of a bungalow. General view of a bungalow. General view of a chhatri. General view of a city gateway. General view of a cluster of pagodas, several with their umbrella finials (htis) in a state of some disrepair. General view of a cluster of pagodas. General view of a cluster of pagodas. General view of a converted palace building. From east. General view of a dagoba (stupa). General view of Adinatha Temple. General view of a drawing room. Print in poorish condition, with overall spotting.[Albumen print, 259x202mm]. General view of a fortified post manned by Sikhs. General view of a gatehouse. General view of a gateway. General view of a gateway with cusped arches. General view of Agency buildings. General view of a group of buildings, the nearest one built on piles.[Gelatin silver print, 114x68mm]. General view of a group of chortens (memorial stupas). General view of a group of chortens or stupas. location unspecified. General view of a group of tents inside the fort at Ispana Ragzha.[Gelatin silver print, 140x80mm]. General view of a group of the cenotaphs. General view of a group of tombs in the English Cemetery at Surat. General view of a hall or other public building, with a crenellated colonnade along the nearer fa�ade and a row of three dome at the rear.[Gelatin silver print, 288x236mm]. General view of a heavily-furnished European drawing room. General view of a hip-roofed bungalow.[Albumen print, 71x50mm]. General view of Alai Minar. General view of a large bungalow, with pantiled roof. The two figures identified as Warner and Gordon stand in the right foreground beside the driveway.[Albumen print, 146x103mm]. General view of a large bungalow. General view of a large collection of sculptures under a tree. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1407). General view of a large house, almost certainly the same as seen in prints 20-21. Possibly the residence of K.L. Paonasker, the compiler of the album. General view of All Saints' Cathedral.. General view of All Soul's Memorial Church, designed by Walter Granville, architect to the East Bengal Railway, and built 1862-75.[Albumen print, 286x235mm]. General view of a long thatched house on stilts. General view of alterations to the residence seen in print 217b. With flagstaff in background.[Albumen print, 243x190mm]. General view of a monastery built of brick rather than stone. Letterpress continues: 'This, as its name signifies, is built of brick (ouk)'. General view of a newly-built brick bungalow, with servants grouped in front of the verandah. General view of an obelisk or needle. General view of an octagonal building with a deep, columned verandah. Possibly part of the Residency buildings at Hyderabad.[Albumen print, 217x167mm]. General view of an octagonal tower crowned by a chhatri, at the site opposite the Taj Mahal where Shah Jahan intended his tomb to stand. From south-east. General view of an unidentified group of ruins, perhaps at Kara-khoja. General view of an unidentified house in Indian style. General view of an unidentified mosque. General view of an unidentified temple at Nasik. General view of apsidal-ended Chola temple. General view of arched gateway, under snow. General view of arched gateway.[Gelatin silver print, 238x282mm]. General view of arched gateway. General view of arched gateway flanked by buttresses. General view of arched gateway flanked by towers and with the fish motif of the rulers of Oudh over the doorway.[Gelatin silver print, 268x215mm]. General view of arched gateway in wall. General view of arched gateway with domed tower above. The gateway stands on a branch of the south-eastern road, near the Pattabhirama Temple outside Kamalapuram. Duplicate at Photo 1008/8 (1676).[151x202mm]. General view of arched gateway with domed tower above. The gateway stands on a branch of the south-eastern road, near the Pattabhirama Temple outside Kamalapuram. General view of arched temple gateway. General view of a row of buildings housing mortars.[Printing-out paper, 319x259mm]. General view of Arsenal buildings.[Printing-out paper, 318x253mm]. General view of a ruined palace (?). General view of a ruined temple in the Salt Range. Photographer identified as William Purdon, Executive Engineer at the nearby Khewra Salt Mine Works. General view of a series of archways of an uncompleted mosque near the tomb of Hazrat Sayyid Sikandar. Cousens refers to these arches as of 'a rather peculiar construction', worthy of more detailed examination in the future. (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 16). General view of a similar building to that seen in print 4.[Printing-out paper, 321x258mm]. General view of a single-storey building. General view of a small drawing room during the period of Lord Lytton's viceroyalty. This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 293x214mm]. General view of a small drawing room in the palace. Print in poorish condition, with overall spotting.[Albumen print, 257x200mm]. General view of a small European bungalow raised on piles. General view of a small gopura. The precise location within the temple is unspecified, but from its size it would appear to be at the entrance to one of the innermost enclosures of the complex. Photograph attributed to H.H. Cole in Bloch's list, but almost certainly one of the series of views taken for Cole by Nicholas & Co. General view of a small gopura. The precise location within the temple is unspecified, but from its size it would appear to be at the entrance to one of the innermost enclosures of the complex. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly one of the series of views taken for Cole by Nicholas and Co. of Madras. General view of a small mosque in a street. General view of a small single storey building. General view of a small stone and thatch bungalow. General view of a small wooden cottage, with a windmill in the background.[Albumen print, 161x137mm]. General view of a somewhat dilapidated two storey bungalow. General view of a square pavilion. From north-east. General view of a step well. General view of astronomical observation posts. General view of a substantial residence, built in European style with a square tower. Possibly the Maharaja of Travancore's Palace. General view of a substantial thatched bungalow.[Printing-out paper, 97x72mm]. General view of a substantial timber-built house. General view of a substantial two storey bungalow.[Printing-out paper, 98x73mm]. General view of a substantial two-storeyed, verandahed house, with figures, including a woman seated on an open jampan, in the foreground. General Becher is presumably John Reid Becher (1819-1884). His residence in Simla has not been verified. General view of a substantial two-storey house, with flagstaff to the right. Possibly the administrative headquarters on the Nicobar Islands. General view of a substantial two-storey house. See also following print.[Gelatin silver print, 98x78 mm]. General view of a substantial two-storey thatched house. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 216x158mm]. General view of a summer house? General view of a tank circled by towers. General view of a temple, standing on a stone platform on the hillside.[Albumen print, 263x200mm]. General view of a temple car. Faded print. General view of a temple decorated with figurative sculptures. General view of a temple in Jhansi District. General view of a temple with a nandi figure in front. General view of a temple with mountains beyond. General view of a thatched bungalow raised on stilts. General view of a three-storey building. General view of a tomb. General view of a tomb. General view of a tower. General view of a two storey brick house with timber framing and teak verandah.[Printing-out paper, 204x150mm]. General view of a two-storeyed European house. General view of a two-storey verandahed house, with a hipped roof of thatch. Letterpress continues: 'The style of dwelling adopted by Europeans in Burmah'. General view of a two-storey wooden bungalow at an unidentified location in Upper Burma.[Printing-out paper, 131x82mm]. General view of a two-storied pavilion with a tiered roof, possibly used for receptions androyal entertainments. The original caption presumably relates to a different photograph. General view of a ward, looking down the two rows of beds, with patients seated on them.[Albumen print, 382x308mm] General view of a white gateway through which a temple can be seen. General view of Badan Singh's Palace. General view of Bailey's brick-built house. General view of Bailey's bungalow. General view of Bailey's house, with terraced garden in front. General view of Bailey's house and garden at Chumbi. General view of Bailey's house and terraced garden. The front fa�ade of the bungalow had now been enclosed by a glass verandah along its length. General view of Bailey's house at Chumbi during his time as trade agent. General view of Barakpur railway station. For an earlier print from the same negative (in poor condition), see Photo 230 (14).[Silver printing-out paper, made c. 1900, 295x234mm]. General view of barracks, with hillside beyond. Print in poor condition, overall yellowing.[Printing-out paper, 322x259mm]. General view of barracks, with men on parade in foreground.[Gelatin silver print, 137x87mm]. General view of barracks, with mosque in background. Print in poorish condition, with overall spotting.[Albumen print, 378x308mm]. General view of barracks. General view of bastion, with the ruined structure seen in print 43 at the left. Archaeological Reconnaissances, fig. 10: 'Ruined pile with terrace at north-eastern end of Nandana ridge.' General view of bastion. General view of bastion and street. From north-east. General view of bastion in the north-east corner of the Hyat Bagh. General view of Bibi Tambolan's Tomb. General view of billiard room, with tiger skin hanging above fireplace, on which is carved the motto, 'Strike and feare not'. General view of Birbal's house, although it is described in the letterpress caption as, 'Bir Bal's daughter's and pigeons' house'. From north-east. General view of brick and stucco obelisk, with an Indian man posed beside it to indicate scale. Duplicates at Photo 1008/10 (13G) and Photo 3/1 (49), there captioned, 'South-east view of pillar near Tiruvattiyur High Road, Madras.'[152x203mm]. General view of brick building with dome of the khanqah (monastery). General view of brick-built sanctuary tower, partially collapsed. General view of brick-built tomb, with octagonal drum and dome. General view of brick bungalow from the garden. General view of brick enclosure. General view of brick granary with barrel roof. Duplicate at Photo 1008/9 (2727).[157x113mm]. General view of brick minar.[Gelatin silver print, 107x159mm]. General view of brick obelisk, with an Indian man posed beside it to indicate scale. Duplicates at Photo 1008/10 (14G) and Photo 3/1(50), the latter captioned 'North-east view of pillar between the Madras and East Coast Railway Lines, Madras. Boundary pillar of Madras Town in 1822.'[151x205mm]. General view of brick platform. General view of brick shed.[Printing-out paper, 316x260mm]. General view of brick structure, containing instructions for segregation during smallpox epidemics. The typescript index records the location as 'near Tsuk La Kang'. General view of brick temple, in ruinous condition, looking towards entrance. Photographed by Cousens' assistants. General view of brick temple, in ruinous condition. Photographed by Cousens' assistants. General view of brick tower, probably in the Mahalingeshvara Temple.. General view of bridge. General view of building, annotated in pencil in sky area: 'At the foot of Rajagiri, Gingee, ?Granary, on plain within circuit of 3 hills.' Duplicate at Photo 1008/7 (1505).[203x152mm]. General view of building, in ruinous condition. General view of building, largely obscured by outer wall.[Printing-out paper, 322x259mm]. General view of building, partially obscured by foreground trees.[Albumen print, 228x177mm]. General view of building, partially obscured by tree.[Printing-out paper, 250x198mm]. General view of building, partly obscured by the trees among which it stands: 'Here the High Priest (Hutuktu) retires for religious meditation (tsam) from time to time. Here also the Dalai Lama spent some time when he visited Reting.' Caption on back of print reads: 'Hermitage at Reting above Ra-dreng Monastery.' General view of building, partly obscured by trees. J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), p. 22: 'Raat contains two ancient-looking Barakhambas or twelve-pillared, both roofless, which the Muhammadans claim as theirs, while the Hindus as stoutly maintain them to be Hindu. Of the pillars, the bases, capitals and shafts correspond, and are apparently in their proper positions; but close examination shows that the capitals are not all of the same size. The remains of the brick dome which once crowned each of these shows indisputable signs of having been built after the Muhammadan conquest, and the existence of two carved stones, the lower sills of the entrances of Hindu temples, among the stones forming the present basement, proves that they are built out of older Hindu temples.' General view of building, the nearest fa�ade swathed in scaffolding. General view of building, under scaffolding. General view of building, which has a frieze of Buddha images in recessed niches just below the eaves of the roof, and a small central tower, similarly decorated. 'Among the common sights of Tibet are the men-dongs, low buildings like thickened walls. They are erected in the names of deceased persons by their heirs and successors, or by others for their own spiritual advancement. In them are placed the offerings decreed by the lama, e.g. images modelled in clay, sacred books, and other religious objects' (The people of Tibet, p. 134). General view of building, with a group of apprentice shipwrights gathered in front.[Printing-out paper, 309x248mm]. General view of building, with gatehouse and high surrounding wall. General view of building, with hillside behind.[Albumen print, 149x105mm]. General view of building, with motor car parked in the porte coch�re. General view of building, with pencilled annotation in sky area: 'On hill Krishnagiri, Gingee. Several like this. Stairway inside up to roof. 2 on top of Krishnagiri, large one at foot of Rajagiri and another on Rajagiri. All on same pattern.' Duplicate at Photo 1008/9 (2335).[202x153mm]. General view of building: image blurred due to camera shake. General view of building.[Albumen print, 243x192mm] General view of building.[Albumen print, 372x309mm]. General view of building.[Albumen print, 380x307mm]. General view of building.[Albumen print, 380x308mm]. General view of building.[Albumen print, 380x310mm]. General view of building.[Albumen print, signed 'Bourne & Shepherd' in the negative, 278x224mm]. General view of building.[Gelatin silver print, 201x149mm]. General view of building.[Gelatin silver print, 80x55mm]. General view of building.[Printing-out paper, 220x257mm]. General view of building.[Printing-out paper, 232x260mm]. General view of building.[Printing-out paper, 251x198mm]. General view of building.[Printing-out paper, 251x199mm]. General view of building.[Printing-out paper, 312x253mm]. General view of building.[Printing-out paper, 313x247mm]. General view of building.[Printing-out paper, 314x261mm]. General view of building.[Printing-out paper, 318x260mm]. General view of building.[Printing-out paper, 320x261mm]. General view of building.[Printing-out paper, 321x257mm]. General view of building.[Printing-out paper, 322x259mm]. General view of building.[Sepia toned print, 129x80mm]. General view of building. Caption continues: 'The Corps was raised in 1887 by Lieutenant-Colonel R.C. Temple, Commanding, and this house erected by him in 1888. In the centre upper floor are the rooms of Lodge Mandalay, No. 2219, E.C., and Mark Lodge Mandalay No. 384, both founded by him in 1887. In the background is the west wall of Mandalay City with one of the minor gateway towers.' General view of building. Duplicate at Photo 1008/7 (1506).[202x154mm]. General view of building. Duplicate at Photo 1008/8 (2247).[203x153mm]. General view of building. Print in poor condition, with overall spotting.[Albumen print, 379x310mm]. General view of building. Similar to print 43. Print in poor condition, overall yellowing.[Printing-out paper, 323x265mm]. General view of building. General view of building. General view of building. General view of building. General view of building. General view of building. General view of building. General view of building (in dilapidated condition). General view of building (partially obscured by trees). General view of building beside the great dock of the Imperial Naval Arsenal, Istanbul.[Printing-out paper, 310x251mm]. General view of building from driveway.[Silver printing-out paper, 120x92mm]. General view of building from roadway.[Gelatin silver print, 289x243mm]. General view of building from street.[Printing-out paper, 320x261mm]. General view of building from street. Duplicate at Photo 1058/20 (10), there identified as 'the rebuilt police station at Ayazma'.[Printing-out paper, 294x250mm]. General view of building from street. General view of building from street. General view of building from street. General view of building from the rear.[Printing-out paper, 251x198mm]. General view of building from the street.[Printing-out paper, 297x255mm]. General view of building from the street.[Printing-out paper, 320x260mm]. General view of building on terrace.[Albumen print, 228x165mm]. General view of buildings, in European style. Caption notes read: 'The foundation stone of this building was laid by His Royal Highness the late Prince Albert Victor of Wales in 1889. Young men are educated up to the Bachelor of Arts degree of the Madras University.' General view of buildings, looking over rooftops. General view of buildings, looking towards main entrance. Print in poor condition, with overall spotting.[Albumen print, 377x307mm]. General view of buildings, printed from a cracked negative. General view of buildings, somewhat distant.[101x76mm]. General view of buildings, with a modern stuccoed residential building in European style in the foreground. Precise location unidentified. General view of buildings, with a modern stuccoed residential building in European style in the foreground. Precise location unidentified. General view of buildings, with hill behind. See note at print 36.[Gelatin silver print, 141x92mm]. General view of buildings, with hillside behind. Duplicate at Photo 1008/9 (2260).[203x152mm]. General view of buildings, with mosque in background.[Printing-out paper, 320x255mm]. General view of buildings. (I.A. Map 46, B3). General view of buildings.[Albumen prints, 251x198mm]. General view of buildings.[Printing-out paper, 250x198mm]. General view of buildings. A rather dark print. General view of buildings. Caption note continues: '(Under Dr Miss G. Sohan Lal), built as a memorial after 1901. Designed by the well-known zamindar and Civil Engineer Mr J. Robinson, of Barari (father of Miss Hetty Robinson, Church Secretary). (Local report had it that he submitted this flamboyant design purely as a joke, but his ability in this line was such that it was accepted without question!)' General view of buildings. Letterpress continues: 'From the S.E. corner of the enclosure. A good example of a kyoung with its pyathat [tiered roof]'. General view of buildings. Print in poorish condition, with overall spotting.[Albumen print, 381x308mm]. General view of buildings. Print in very poor condition, with overall spotting and fading.[Albumen print, 251x198mm]. General view of buildings. General view of buildings. General view of buildings. General view of buildings. General view of buildings. General view of buildings cut into hillside. General view of buildings from roadway.[Albumen print, 320x246mm]. General view of buildings from street.[Albumen print, 378x308mm]. General view of buildings from the street.[Albumen print, 325x252mm]. General view of buildings from the street.[Albumen print, 377x307mm]. General view of buildings on hillside. General view of building under construction. A yellowed and indistinct image.[Albumen print, 270x206mm]. General view of building under construction. General view of building with squat octagonal tower at one end. General view of building witrh ashlar base and wooden superstructure. General view of building work in progress. Compare with Print 21. General view of bungalow, partly concealed by trees, with tea plants in foreground.[Albumen print, 220x170mm]. General view of bungalow, partly concealed by trees. A pencilled note identifies the house as Rosenheim.[Albumen print, 178x103mm]. General view of bungalow, presumably for the accommodation of engineering staff. General view of bungalow, with domestic staff lined up in front and P.J. Corbett seated on the verandah. General view of bungalow, with garden in the foreground and snowy peaks in the distance. Dr William George Ward Clemenger (1821-91) was a Surgeon in the Indian Medical Service.[Albumen print, 230x176mm]. General view of bungalow, with guard standing at attention in the foreground. 'This building is situated in the Palace enclosure, though separate from it, forms a portion of it, and is of some interest, as it has been successively the residence of Sir Herbert MacPherson, Sir Frederick Roberts, and Sir Charles Arbuthnot, the Chief Military Commanders in Upper Burmah during the Campaign of 1886-87. King Thebaw, when first made a state prisoner, was discovered in one of the rooms of this building, and it was from here he abdicated , and then made his start for India.' General view of bungalow, with Hinchcliffe standing on the verandah.[208x135mm]. General view of bungalow, with servants posed in front of the building. The figure posed on the upper verandah is presumably John Whaley Watson, the compiler of the album. See print 62 for an earlier view of the building. General view of bungalow. A faded and yellowing print.[Albumen print, 263x190mm]. General view of bungalow. General view of bungalow. General view of bungalow (presumably W.W. Hooper's) from garden. General view of bungalow and compound. General view of bungalow and garden. General view of bungalow for government officers. Negative marked up for cropping. Original and duplicate negatives only, no print. General view of bungalow from garden.[Printing-out paper, 141x83mm]. General view of bungalow from garden.[Sepia toned print, 135x78mm]. General view of bungalow from garden. Negative only, no print. General view of bungalow from garden. General view of bungalow from garden. General view of bungalow from garden. General view of bungalow from garden. General view of bungalow from garden. The photographs of several of the pieces of Gandharan sculpture excavated at Sikri and seen in preceding prints appear to have been taken in this garden. General view of bungalow in compound. General view of bungalow on hillside amongst trees. Poor quality print. General view of bungalow set among trees. Snapshot. General view of bungalow with W.H. Nightingale and his wife standing on the verandah, their carriage in the drive, and servants posed outside. General view of cantonments on the plain west of the city.[Albumen print, 282x225mm]. General view of capital. General view of carved column. Copy at Photo 1002 (555). General view of carved rock face. General view of carved stone slab. General view of carved temple window. General view of carved temple window. General view of castle, with houses in the foreground. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926), facing p. 26.[Gelatin silver print, 223x289mm]. General view of cave shrines. (I.A. Map 28, C3). General view of cave shrines in rock face. (I.A. Map 38, B4). General view of cave temple fa�ade, with dvarapalas flanking the three openings and a frieze of animals above the enrance. A European figure (A.H. Longhurst?) is seated in a niche at the left of the print. The temple is designated No. 4 in the annual report description. General view of cave-temple fa�ade from the right. General view of ceiling. General view of cenotaph. From south-east. General view of cenotaph. General view of central building. General view of central building and part of platform.[Platinum print, 291x237mm]. General view of central part of house from garden. [148x99mm]. General view of central range from the driveway. General view of central temple complex.[Albumen print, 226x167mm]. General view of chaitya foundations after excavations. General view of Chandrashekhara Temple, with mandapa in left foreground, with the towers of the two shrines in the right background. General view of Charles Stotherd's bungalow. General view of Charles Stotherd's bungalow in Jaipur? General view of Chinese memorial in the cemetery.[Albumen print, 292x239mm]. General view of Chini Bagh, the Consulate-General at Kashgar. With some retouching of sky.[Gelatin silver print, 295x227mm]. General view of chorten. Small, square format print. General view of Christ Church, Simla. General view of Christ Church from the Mall.[Printing-out paper, 293x213mm]. General view of church, probably at Sadiya.[105x146mm]. General view of church, whose erection by subscription was organised by Sir George Udney Yule while British Resident at Hyderabad. The church was built 1865-67. Chadarghat is a northern suburb of the city of Hyderabad. The sky in this view has been painted out.[Albumen print, 105x129mm]. General view of church, with water cart in foreground. Print in very poor condition. Duplicate, in good condition, at Photo 2/3 (121). Another duplicate (poorish condition) at Photo 447/5 (12). General view of church.[Albumen print, signed 'Townshend Phot.' in the negative, 275x210mm]. General view of church.[Gelatin silver print, 119x69mm]. General view of circuit house at Amraoti (Amravati). General view of circular brick granary with conical roof. General view of citadel.[Albumen print, 212x161mm]. General view of city gate, flanked by octagonal towers. General view of city gate. From south-east. General view of city gate. General view of city gate General view of Claude Martin's palace, with Sikh soldiers posed in foreground. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 302x247mm]. General view of club buildings. General view of clubhouse. General view of clubhouse from garden.[Postcard, gelatin silver print, 136 X 86 mm]. General view of club premises.[Albumen print, 175x102mm]. General view of club premises. Faded print. General view of club premises. General view of club premises (now known as the Madras Club). General view of cluster of pagodas. General view of collapsed hall, showing remains of domed ceiling. General view of college (Robert College (now Bogazi�i Universitesi)) buildings on the hill above Rumeli Hisari.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x200mm]. General view of college buildings. Note on reverse states that the circular wooden tower wooden tower on top of the building was removed in the 1920s. The print was presented by Miss M. Tait, 'whose grandparents were the first residents here. At that time it was the Principal's house but is now a hostel for women students.' General view of college buildings. General view of college buildings from north-east. General view of colonnade, showing carved columns.[Gelatin silver print, 202x150mm]. General view of colonnade.[Gelatin silver print, 205x151mm]. General view of columned fa�ade from the street.[Printing-out paper, 261x319mm]. General view of columned mandapa at entrance to cave. General view of columns. General view of columns in the Shiva temple.. General view of completed building and surroundings. General view of complex of buildings, taken from outside the perimeter wall. Scott' diary for 25 March 1890 records: 'Did some rather good plates last night. Went down and photographed the Haw and the Town Monastery' (OIOC Mss Eur F278/6 f. 46). This building was apparently replaced or rebuilt or extended shortly afterwards, since Scott's gazetteer of the Shan States (published in 1901) states that the palace is 'a comparatively new building (having been completed about 1892)'.[Albumen print, 238x187mm]. General view of complex of buildings. 'To the right is the small lingka, where Harnett always slept in a tent; he refused to sleep in the house as it was rather smelly. Trees at the back of the sitting-room and lingka partially screening the house from Gyang-tse Dzong, town and monastery, as our host liked a quiet life. The tall poles are prayer poles. The plain in front is marshy in places, and everywhere intersected with irrigation channels. The house is three-storeyed.' General view of convent buildings General view of converted mosque, with European figure and servants posed near entrance and plants in pots in front of the building. General view of corner tower.[?Matte collodion printing-out paper, 144x215mm]. General view of corner tower.[?Matte collodion printing-out paper, 146x206mm]. General view of corner tower. Poor quality print.[?Matte collodion printing-out paper, 165x199mm]. General view of court; Bari Khwabgah not visible. General view of court buildings, slightly unsharp. General view of court buildings. General view of courtyard. General view of covered ablution fountain in the courtyard of the mosque.[Albumen print, 386x306mm]. General view of covered entrance. Letterpress continues: 'This is the landing of the west stairs opposite to the Tazoung on that side'. General view of covered pulpit. 'Covered down the sides with yak hair curtains, which the Ken-cho, at my request and as a special favour, ordered to be removed.' For a view of the interior, see print 459. General view of cruciform rock-cut temple, much overgrown. General view of crude wooden house, with corrugated iron roof. General view of dagaba.[Gelatin silver print, 164x118mm]. General view of dagaba.[Gelatin silver print, 55x80mm]. General view of dagaba and platform and surrounding trees. The small dagaba or stupa stands in the centre of the circular relic house. See note at Photo 92/16(21).[Silver printing-out paper, 100x75mm]. General view of dagaba and surrounding plaform.[Gelatin silver print, 116x89mm]. General view of Dairsie Church, Fifeshire.[Albumen print, 140x101mm]. General view of dak bungalow, under snow. General view of dak bungalow. General view of dalan or hall on the south bank of the tank after partial clearance. Most of the windows and vernadahs are blocked up with stones. General view of damaged building. General view of Dane family home. General view of Delhi Gate, with the Hathi Pol visible beyond. General view of Delhi Gate. General view of detached pavilion with tiered octagonal roof. General view of Dharmaraja Ratha. General view of dilapidated monastery building on summit of Mandalay Hill. General view of dilapidated temple with thatched roof. General view of dining room, with Tsarong Shap�, his wife and Mary Jigme seated at the table.[Gelatin silver print, 158x107mm]. General view of dining room. Modern print.[Gelatin silver print, 132x88mm]. General view of dining room and furniture. General view of District Commissioner's bungalow from garden, with Mr Barton and servants posed in front of the building. General view of dolmen, with relief carving on rear slab. General view of dolmen. The carving on the back-slab is in shadow and not visible. An Indian man is seated beside the dolmen to indicate scale. General view of domed, open-sided pavilion. General view of domed building. General view of domed entrance. General view of domed Jain temple, also known as Chota Mandir. General view of domed pavilion. General view of domed shaped structure: 'The water is either collected from occasional rain-falls or conducted by man-made water-channels, often over considerable distances from sources in the hills. Large numbers of this type of water storage system were constructed during the reign of Emperor Shah Abbas. Some still exist in usable condition, but many yet survive today as crumbling relics of a period long past. This one was situated near Shiraz.'[Gelatin silver print, 166x114mm]. General view of domed shrine from outside the exterior wall.[101x76mm]. General view of domed temple from street. General view of domed tomb, with octagonal arcade. In ruinous condition. General view of domed tomb. (Ancient Persis Map B3). General view of domed tomb.[Gelatin silver print, 105x80mm]. General view of domed tomb. General view of domed two, converted for use as a police station. General view of domes, and showing the carvings at the base. General view of dome tomb. General view of door. From west. General view of doorway, with ablution fountains to right.[Albumen print, 328x261mm]. General view of double-storied mosque, with truncated minaret in the foreground. India Museum no. 540(a). Duplicate of Photo 1000 (2477). General view of drawing room, with Florence Bailey (seated on left) and another woman. A good view of a Victorian interior in India. Second copy at print 83.[Albumen print, 229x177mm]. General view of drawing room.[Albumen print, 242x195mm]. General view of drawing room of a house furnished with pieces made by Indian craftsmen but for European functions. Most of the pieces are inspired either by Indian sculpture or architecture. Unfortunately the house, these views of which provide a detailed record of contemporary taste, has not been identified. Pencilled notes on the mount supply the following information on various aspects of the furniture: 'In corner jarookha in sandalwood, Jodhpur design - what-not in shape of Panch Mahal, Fatehpur Sikri - screen, after Mohafiz Khan's Mosque, Ahmedabad, other side, 'Taj' by moonlight - front entrance - markandeya chair.' General view of dzong. General view of earthquake damage. General view of East and West Pet-leit Pagodas. General view of east face of Arjuna Ratha. General view of east fa�ade.[Platinum print.] General view of east fa�ade. General view of east fa�ade from north-east. General view of east fa�ade of ruined mosque, on the Delhi-Mathura road, 600 yards south of the Lal Darwaza. Recorded as No. 121 in Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Calcutta, 1919), pp. 82-84. General view of east fa�ade of the mandapa, showing the screen of columns carved with rearing horses and riders. A somewhat faded and yellowing print. Albumen print, 373 x 282 mm. General view of East Pet-leik Pagoda. General view of edict pillar. General view of eight-spanned masonry bridge at Tus, near Meshed.[Platinum print, 102x79mm]. General view of elephant statue, newly installed. From south. General view of Elphinstone College from Esplanade Road, with the Sassoon Institute (here displaying signboard of Lund & Blockley) to the right. Prince of Wales Statue in the foreground. General view of enclosure. Albumen print duplicate at Photo 1000 (1248).[Carbon print ('Autotype'), 259x192mm]. General view of enclosure. General view of enclosures. General view of enclosure wall and gateway. General view of entrance, from right. The surrounding rock face has been scored with square incisions as part of the the excavation process. General view of entrance, showing pillars with bulbous bases. General view of entrance, the verandah supported on massive carved wooden pillars. The Tsuklakhang was a block of religious and adminsitrative buildings which incorporated the Jokang Temple. General view of entrance. General view of entrance. General view of entrance. General view of entrance and clocktower.[Albumen print, 265x205mm]. General view of entrance building, with multi-tiered roof. General view of entrance from west. General view of entrance gatehouse.[Albumen print, 274x198mm]. General view of entrance gateway, with pagoda spires beyond.[Albumen print, 274x208mm]. General view of entrance gateway. Stereoscopic view. General view of entrance gateway. General view of entrance gateway. Unnumbered print, but probably no. 1081 in the Bourne & Shepherd catalogue.[Albumen print, 84x96mm]. General view of entrance gopura. Another copy of this photograph at Photo 1000 (2309b) identifies this as the Venkataramana Temple at Madhugiri: this identification has been tentatively accepted.[Albumen print, 256x341mm]. General view of entrance to a part of the barracks. General view of entrance to cave temple. General view of entrance to fort. General view of entrance to Hathi Gumpha cave temple. General view of entrance to Jain cave temple No. 10 (Ganesh Gumpha). General view of entrance to mandapa. General view of entrance to rock-cut temple. General view of entrance to the Adivaraha Cave Temple. General view of entrance to the chaitya. General view of entrance to the chaitya hall. The print surfacxe has been squared off in pencil, evidently for use as an artist's reference. General view of entrance to the Rani Gumpha Jain cave temple. General view of entrance to the Sikandarbagh. General view of entrance to the temple. Temple no. 18 visible at left. General view of excavated area, with small stupas. General view of excavated area. General view of excavated area. General view of excavated area. General view of excavated area. General view of excavated area. General view of excavated area around gateway. General view of excavated areas. General view of excavated base of wall. General view of excavated foundations. General view of excavated lat at Gotihva. Fuhrer's identification of the Buddha's stupa was disputed at the time. See notes with 737 regarding Kapilavastu. General view of excavated monastery cells, with stupa visible beyond. General view of excavated monastery cells. General view of excavated monastery site. General view of excavated portion. General view of excavated remains, with tree growing from top of mound. General view of excavated remains. General view of excavated remains. General view of excavated site, showing foundations of buildings. General view of excavated site. General view of excavated site. General view of excavated site. General view of excavated site. General view of excavated site. General view of excavated site. General view of excavated site. General view of excavated stupa, with smaller brick dagobas in foreground. General view of excavated stupa bases. General view of excavated stupa group. General view of excavated stupas. General view of excavated tank. General view of excavated wall. General view of excavation. General view of excavation in progress in the monastery courtyard, with the tank in the foreground. Beyond are the Nirvana Temple and Nirvana Stupa. General view of excavation of monastery site. General view of excavations. General view of excavations. General view of excavations. General view of excavations. General view of excavations. General view of excavations. General view of excavations. General view of excavation site. General view of exterior, an octagonal building with decorative marble facing and fluted dome.[Albumen print, 313x373mm]. General view of exterior, with sculptural decoration carved in relief in porch. General view of exterior.[96x65mm]. General view of exterior.[Albumen print, 305x372mm]. General view of exterior.[Albumen print, 373x305mm]. General view of exterior.[Albumen print, 375x308mm]. General view of exterior.[Albumen print, 377x31mm]. General view of exterior.[Albumen print, 380x301mm]. General view of exterior.[Albumen print, 380x307mm]. General view of exterior.[Albumen print, signed 'Lawton' in the negative, 282x216mm]. General view of exterior.[Gelatin silver print, 112x152mm]. General view of exterior.[Gelatin silver print, 157x110mm]. General view of exterior. A dark print.[97x76mm]. General view of exterior. Caption notes read: 'The Darya Daulat or 'Garden of the Wealth of the Sea', is a summer palace which was Tipu's favorite retreat from business. Its graceful proportions, and the arabesque work in rich colours in which it is covered from first to last, from top to bottom, render it very attractive and recall the palaces of Ispahan, and resemble no other building in all India.' General view of exterior. Caption notes read: 'The Museum was established by Dr E. Balfour in 1865, and the building was completed in 1877. The entrance hall contains several specimens of ancient stone carvings, two of which are of special interest, one from Begur illustrates the former wars of the country. The date assigned to it is A.D. 1850. The other is dated A.D. 925. The halebid Temples are also represented by a few carvings supposed to be over a thousand years old. There is a fine cabinet with Roman coins ranging from B.C. 21 to A.D. 51, and are thus about 1900 years old. Mysore is represented by coins dating from A.D. 1578 to 1843, and there are trophies of the arms and armour used in the days of Haidar Ali and Tipu Sultan'. Duplicate at Photo 2/9 (4). General view of exterior. Print in poor condition, with overall spotting.[Albumen print, 306x370mm]. General view of exterior. Print in poor condition, with some fading and overall spotting.[Albumen print, 309x366mm]. General view of exterior. Print in poorish condition, with overall spotting.[Albumen print, 307x360mm]. General view of exterior. Print in poorish condition, with overall spotting.[Albumen print, 307x370mm]. General view of exterior. Print in poorish condition, with overall spotting.[Albumen print, 309x372mm]. General view of exterior. Print in poorish condition, with overall spotting.[Albumen print, 373x305mm]. General view of exterior. General view of exterior. General view of exterior. General view of exterior. General view of exterior fa�ade, showing porch with columns of a similar design to those seen in Cave 3. General view of exterior from roadway.[Albumen print, 380x309mm]. General view of exterior of colonnade. General view of exterior of mosque. General view of exterior of octagonal domed building, in the courtyard of St. Sophia, Istanbul.[Albumen print, 308x376mm]. General view of exterior of old Times of India offices. General view of exterior of recently completed market.[Silver developing-out paper, 292x232mm]. General view of exterior of the octagonal domed building.[Albumen print, 302x380mm]. General view of exterior of the tomb, an octagonal mausoleum in Empire style with fenestrated wall, shared by Sultans Mahmut II, Abdulaziz and Abdulhamit.[Albumen print, 382x306mm]. General view of exterior showing porch with elaborate column capitals. General view of facade. From east. General view of facade. General view of facade. General view of facade. General view of facade. General view of facade. General view of factory buildings, seen from a different angle to print 24. Print dated 3 Jan 1924 on reverse, but this probably indicates a date of receipt rather than taking of photograph. General view of factory buildings.[Printing-out paper, 320x260mm]. General view of factory buildings. Print dated 3 Jan 1924 on reverse, but this probably indicates a date of receipt rather than taking of photograph. General view of factory buildings. Print in poor condition, with overall spotting.[Albumen print, 378x300mm]. General view of Fateh Jang's Mosque. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. General view of fa�ade, largely covered in vegetation: 'South-east of the endowment, and about half a mile distant, stands the Small Golden Mosque, which is in better preservation than most of the Gaur ruins. It might be termed the gem of Gaur. The courtyard, however, is entirely demolished, a road now passing through it. The mosque is oblong in form and covered with fifteen domes, supported on massive hornblende pillars, of which substance the entire mosque is constructed. The exterior facings are chased with the most elegant and elaborate designs, while the interior is beautifully chiselled on all sides...' Much of this exterior decoration has now gone (see George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 69)).[Woodburytype, 240x187mm]. General view of fa�ade, partially obscured by trees. General view of fa�ade, showing the entrances to the three shrines, each flanked by pairs of pilasters containing guardian figures. General view of fa�ade, with horizontal and vertical measuring scales. Duplicate at Photo 1000 (1272).[Carbon print ('Autotype'), 198x253mm]. General view of fa�ade, with nandi on platform in front. General view of fa�ade, with plain recatgular opening and undecorated octagonal pillars. Known locally as the Akkana Madanna Mandapa. General view of fa�ade: 'We then proceeded to the 'Nachung' or temple of the Great Oracle of Tibet, a mile from Drepung Gompa...After lunch we went all round the oracle's temple guided by a very intelligent Urdu speaking lama.' (Lhasa Mission Diary, 30 August 1936).[Gelatin silver print, 141x92mm]. General view of fa�ade.[Printing-out paper, 198x252mm]. General view of fa�ade.[Printing-out paper, 251x198mm]. General view of fa�ade.[Printing-out paper, 260x303mm]. General view of fa�ade. Albumen print duplicate at Photo 1000 (1255).[Carbon print ('Autotype'), 251x189mm]. General view of fa�ade. Print in poor condition, overal yellowing, some fading.[Printing-out paper, 323x259mm]. General view of fa�ade. Print in poor condition, yellowing and fading.[Printing-out paper, 322x264mm]. General view of fa�ade. See also Photo 1002 (2219). General view of fa�ade. General view of fa�ade. General view of fa�ade. General view of fa�ade and part of surrounding hillside. On either side of the entrance are niches containing images (that on the left (west) side is unfinished). General view of fa�ade from left. General view of fa�ade from the right. General view of fa�ade from the street, with part of the building covered in scaffolding.[Printing-out paper, 252x198mm]. General view of fa�ade from the street.[Printing-out paper, 318x256mm]. General view of fa�ade of rock-cut temple, with three plain rectangular openings flanked by guardian figures carved in recesses. General view of fa�ade of school building.[Albumen print, 252x193mm]. General view of fa�ade of the Amba Vilas Palace from court.[Gelatin silver print, 139x102mm]. General view of Firoz Shah's Lat. General view of Firoz Shah's Lat. General view of Firoz Shah's Lat in foreground, with mosque at left. The domed gateway is the northern entrance to the mosque. General view of fitting shop, showing collapsed roof.[Gelatin silver print, 103x60mm]. General view of flat-roofed, single-storeyed stone buildings. General view of flight of stone steps. General view of flight of stone steps leading to chaitya. General view of formal garden looking towards the buildings.[291x240mm]. General view of former roadway in the city. General view of fort, overgrown with vegetation. Duplicate at Photo 1008/7 (1194).[203x153mm]. General view of fort, similar to print 33. General view of fort, slightly distant. General view of fort, with three figures standing in foreground. General view of fort: 'About half a mile to the east of Qir village and the date-palm groves which surround it there rises a high and conspicuous mound, crowned by a massive fort, reconstructed by Saulat-ud-Dauleh, to serve his hold over the tract all owned by Qashqai chiefs. It is known as Qal'a-i-Parian...one of the chief halting-places on those seasonal moves which Saudat-ud-Daulah was accustomed to share year by year with his semi-nomadic tribesmen. All these buildings are now rapidly falling into ruin, recalling in a modest way the fate of those vastly more impressive palaces which served as seasonal residences for the Sasanian and Achaemenian 'Kings of Kings'.' (Ancient Persis, p. 131, Map B3). General view of fort. 'A typical frontier outpost. In most cases the walls are constructed of mud or sun-dried brick, solidly built and plastered over. In the corners there are generally one or more towers of stone. A vigilant look-out is constantly maintained agaimst the possibility of 'snipers' or sudden attack.'[Gelatin silver print, 107x60mm]. General view of fort.[Albumen print, 272x136mm]. General view of fort. General view of fort. General view of fort. General view of fort and surrounding houses at Kalat. Gedrosia, fig. 1. General view of fort and surroundings.[Gelatin silver print, 295x205mm]. General view of fort and surroundings. General view of fortified post. General view of fort ruins. General view of forts. General view of fort with guns in the foreground. General view of foundations of excavated monastery. General view of fountain pavilion, with the river in the background.[Albumen print, 324x260mm]. General view of four storey stucco building.[Gelatin silver print, 278x242mm]. General view of free-standing domed pavilion. General view of free-standing mandapa. General view of free-standing mandapa. General view of Frere Hall, with bandstand in foreground. General view of fresco panel, bottom portion damaged. General view of frieze. Faded print. General view of frieze. General view of front of building.[Albumen print, 239x194mm]. General view of front of building. Print in poor condition, with overall fading.[Albumen print, 247x195mm]. General view of front of chaitya hall. General view of front of house.[Silver printing-out paper, 119x99mm]. General view of front of vihara cave. General view of funerary complex. General view of G.C. Hogg's house, named after the river at Pune. General view of gallery. On the left hangs Vassili Verestschagin's massive painting of the Prince of Wales entering Jaipur in 1876.[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 283x237mm]. General view of Ganesha Ratha. Duplicate at Photo 27 (66). General view of Ganesha Ratha. General view of Ganesha Temple buildings at Chaulikeri near Barkur. General view of gardens, looking towards a greenhouse.[Printing-out paper, 251x198mm]. General view of gardens and main facade. General view of gate, with flanking elephant statues. General view of gate and surrounding battlements. General view of gatehouse, built of brick and stucco and approached by a short flight of steps flanked by guardstones. Dvarapalas are also carved in relief in niches on either side of the doorway. The pantiled roof is built in two receding tiers. This is presumably the outer guardhouse on the east side of the dagaba.[Albumen print, signed 'Lawton' in the negative, 278x216mm]. General view of gatehouse, in ruinous condition. Duplicate at Photo 1008/9 (2726).[155x112mm]. General view of gatehouse, in ruinous condition. Duplicate at Photo 3/2 (130). General view of gatehouse, showing fish motif above entrance, seen here in very dilapidated condition.[Silver printing-out paper, 290x213mm]. General view of gatehouse, with carved wooden architraves. Innermost Asia, vol. 1, fig. 36: 'Gate of Dodo-kot village, Darel.' (I.A. Map A). General view of gatehouse from court of mosque. General view of gateway, closer than print 8 and from the other side. Albumen print duplicate at Photo 1000 (1250).[Carbon print ('Autotype'), 202x249mm]. General view of gateway, in ruinous condition and covered in vegetation: 'Passing through the corridor of the Golden Mosque, which sufficiently large to admit mounted elephants, the huge rampart of the fortress, covered with forest trees, faces the view to the south, and a little to the west, perforating the rampart, stands the Dakhil or Salami Gate, the northern entrance to the fort...It is built very substantially of small red bricks, which are generally employed in the Gaur structures, and shows signs of having been highly ornamented with embossed bricks, traces of which can still be seen, even on the dilapidated towers which adorn the four corners. The arch is of great height, and forms a corridor throught the gateway of 112 feet in length...' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 70).[Woodburytype, 234x186mm]. General view of gateway, partially overgrown. General view of gateway,showing conversion to a pointed arch. 'The only portions of the old Hindu town walls now standing are portions of the eastern and western gates with the sculptured and corbelled brackets now under-built with Muhammadan arches. They were of the Dabhoi type, thoughnot so lofty nor so elaborate. The square pillar with the Gujarati inscription seen in the photograph of the western gateway is not ancient, but was erected after the faction fights a couple of years ago between the Muhammadans and the Hindus. It is a notice prohibiting the playing of music on that particular road.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899', p. 12). General view of gateway, with central arch swathed in scaffolding. General view of gateway, with measuring scales. Duplicate at Photo 1000 (1270).[Carbon print ('Autotype'), 256x188mm]. General view of gateway, with measuring scales. Duplicate at Photo 1000 (1271).[Carbon print ('Autotype'), 255x192mm]. General view of gateway, with small ruined mosque beyond. (?)Possibly the Bari Kaman: 'Standing some two hundred yards to the south of the mosque and palace, upon the side of the main road leading from the citadel to the Jami Masjid, is a great heavy-looking archway known as the Bari Kaman. It was the main entrance into Mustafa Khan's grounds, though now cut off and separated from it' (Henry Cousens, 'Bijapur and its architectural remains', (ASI, vol. XXXVII, Imperial series, Bombay, 1916), p. 96). General view of gateway. Duplicate of Photo 1008/9 (2262). The print in the present album is a clearer image. Another copy at Photo 3/2 (114).[213x157mm]. General view of gateway. Duplicates at Photo 1008/9 (2262) and Photo 3/1 (25).[203x152mm]. General view of gateway. Poor quality print.79x77mm]. General view of gateway. General view of gateway. General view of gateway. General view of gateway. General view of gateway. General view of gateway (precise location unknown). General view of gateway and flanking bastions. General view of gateway and flanking towers on the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x201mm]. General view of gateway and mosque. General view of gateway to the old fort. General view of gateway with lamp column in front. Duplicate of Photo 1008/9 (2261). The print in the present album is a clearer image. Another copy at Photo 3/2 (115).[213x155mm]. General view of Gawhar Shad's Mosque and shrine.[99x70mm]. General view of gopura, partly obscured by tree. General view of gopura, swathed in scaffolding. General view of gopura, with sanctuary towers visible beyond wall. General view of gopura.[?Matte collodion printing-out paper, 198x285mm]. General view of gopura. Duplicate (later printing) of Photo 1000 (2910). Another copy at Photo 212/1 (11). General view of gopura. Duplicate (later printing) of Photo 1000 (2911). Another copy at Photo 212/1 (12). General view of gopura. Duplicate at Photo 1008/1 (181). General view of gopura. General view of gopura. General view of gopura of Ramalingeshvara Temple. General view of Government House from the garden.[Albumen print, 265x206mm]. General view of grandstand.[Gelatin silver print (modern copy), 238x144mm]. General view of granite column.[Albumen print, 178x233mm]. General view of grave, built on a platform in a shaded garden. General view of grave and headstone. General view of grave in garden. General view of graves within the shrine. General view of great dome from the side, showing rich scuulptural detail. General view of group of buildings. The minar or tower is in the centre of the photograph. The octagonal domed building immediately to the left is presumably the structure converted into a resthouse by Mir Masum and described in Cousens' report (p. 4). At the extreme left is Mir Masum's Tomb. General view of group of domed tombs at the north end of the town (which can be seen in the background, with the fort beyond).[Albumen print, 250x185mm]. General view of group of domed tombs in Bijapur style (hence their inclusion, even though some distance from Bijapur). The central mausoleum is presumably Assud Khan's Tomb. General view of group of excavated small stupas. General view of group of excavated stupas. General view of group of rock-cut shikaras. General view of group of ruins. Innermost Asia, vol. 2, fig. 327: 'Ruins of large structures in centre of northern area, Yar-khoto.' (I.A. Map 28, B3). General view of group of ruins. Innermost Asia, vol. 2, fig. 328: 'Ruined houses to east of main road, Yar-khoto.' (I.A. Map 28, B3). General view of group of small stupas. General view of group of standing columns.[Albumen print, signed 'Lawton' in the negative, 280x216mm]. General view of group of temples. General view of group of tombs. General view of group of tombs and headstones.[Gelatin silver print, 293x231mm]. General view of group of tower tombs. General view of Gupta edict pillar, lacking capital. General view of gymkhana buildings. General view of H.R. Winship's residemce? General view of half-collapsed shrine. General view of hall, including murals and upper gallery.[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 287x238mm]. General view of Hasan Khan Suri's Tomb. General view of Hathi Pol. Copy at Photo 1002 (564). General View of Hayat Bakshi Begum's Tomb. 'This photograph was taken from the Tomb of Kullee Kootub Shah, which is situated about 250 yards to the south of it. It is in this tomb that the English visitors generally 'put up', during their pic-nic excursions to the 'City of the Dead'. The native care-takers who are in charge of it, and who act the part of ciceroni to visitors, knowing John Bull's characteristic fancy for the clean, thinking that they could give the tomb something of the appearance of the dwellings of the latter, actually white-washed the interior and south-western verandahs - never dreaming of the injury they were doing to the appearance of the beautifully chiselled granite columns that support it, or to the amount of labour they would entail on the unfortunate artist who photographed it, in endeavouring to render the detail, with the glaring contrast of the white-washed portion and the time-sombred appearance of the other parts.'[Albumen print, 247x191mm]. General view of henza posts set among small pagodas in the Shwe Dagon. Letterpress continues: 'These, painted in bright colours diapered with gold and silver (traces of which still remain) must have had a very gay appearance. Henza staves are attached to all pagodas'. General view of hexagonal domed tower (tomb?). Precise location unidentified. For note on Allard, see Photo 1007/13 (3098). General view of hill and fort, with steps leading to summit. Duplicate at Photo 3/2 (65). General view of hill fortifications. General view of hilltop fort. General view of Hindu columns in the Quwwat-ul-Islam mosque. General view of horshoe-shaped entrance to the chaitya hall. General view of hospital building from the square. Print in poorish condition, with overall spotting.[Albumen print, 382x309mm]. General view of hospital buildings, partly concealed by trees. Print in poorish condition, with overall spotting.[Albumen print, 370x312mm]. General view of hospital buildings, probably newly constructed.[Printing-out paper, 320x260mm]. General view of house, presumably a family home of the Ramsdens. General view of house. A faded print.[Silver printing-out paper, 98x78mm]. General view of house. General view of house. General view of house. General view of house and garden. General view of house and garden. General view of house and gardens. General view of house from garden. General view of house from garden. General view of house from garden. General view of house from outside perimeter wall, with mountains beyond. General view of house frotified with wooden palisade. For portrait of Mazi Zao, see print 152.[Gelatin silver print, 131x81mm]. General view of imambara gateway. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 108) and captioned 'In the Shrine of Hazrat Pir, Yarkand; gateway of mosque school.' Signed 'C.P.S. 1923' in blue pencil on print.[Gelatin silver print, mounted on card, 185x308mm]. General view of inner narthex, looking south. Print in poorish condition, with overall spotting.[Albumen print, 308x368mm]. General view of interior, showing printing presses.[Printing-out paper, 307x248mm]. General view of interior, showing punkahs hanging from ceiling.[Albumen print, 221x179mm]. General view of interior, showing sculptures set into walls. General view of interior, showing square supporting columns with cushion capitals. Duplicate (later print) at Photo 97 (18). General view of interior. General view of interior. General view of interior. General view of interior. General view of interior. General view of interior beneath dome.[Albumen print, 384x308mm]. General view of interior of machine shop.[Printing-out paper, 310x248mm]. General view of interior of room. Print in poor condition.[Printing-out paper, 320x259mm]. General view of interior showing carved pillars. General view of interior with rifle racks.[Albumen print, 378x308mm]. General view of Islam Khan's Tomb, situated in the court of the Jami Masjid to the east of Salim Chishti's Tomb.[Albumen print]. General view of island and lighthouse.[Albumen print, 206x266mm]. General view of Itimad-ud-Daulah's Tomb from the garden.[Developing-out paper, 290x243mm]. General view of Jain basti at Halebid. Apart from a series of pilasters, the walls are plain between the basement mouldings and decorated roofline. For another copy of this print, see Photo 1000 (2328).[Albumen print, 362x250mm]. General view of Jamrud fort.[Printing-out paper, 151x112mm]. General view of Kashmiri style mosque.[Silver printing-out paper, 98x120mm]. General view of King Thibaw's Kyaung. General view of kiosk or pavilion.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x199mm]. General view of kos minar or milestone. General view of laboratory, with two Indian staff members at work. General view of Lady Elgin's room, furnished in European style. General view of La Martini�re (Constantia), with the lake and the tall fluted column built by J.P. Parker in the foreground. General view of lamp column. General view of lamp column. General view of lamp column of dvajastambha in front of temple mandapa. General view of large domed tomb. General view of largely ruined buildings. General view of largely ruined temple. General view of large stupa, the base and crown much eroded, but with the central section of banded stone cladding still intact. General view of large temple complex. Caption note continues: 'I have seen about 10,000 Hindu pilgrims bathing here at once during Maghi Purnimasi in February. (?Photo by Canon Tarafdar).' General view of lat. From north. General view of Legation buildings. General view of lifeboat station buildings.[Printing-out paper, 306x241mm]. General view of lighthouse and ancillary buildings. The Sacramento Shoal is at the mouth of the Gautami branch of the Godavari River. The lighthouse was erected in 1902. General view of lion capital. General view of long, single storey building. Print in poorish condition, with some overall fading.[Albumen print, 374x305mm]. General view of long, single storey temple on the west side of the group. General view of long range of building. General view of low, multi-domed bath house. General view of lower surviving section of shikara, showing sculptured facade. General view of main block. Caption note continues: 'Sabour, the next station down the E.I.R. Loop Line, about 6 miles east of Bhagalpur. Principal in those days and for many years Mr H. Stewart (regarded then locally as a colossal white elephant!)' General view of main block of college. Poor quality print. General view of main building of the Royal Indian Engineering College. General view of main facade, slightly distant. General view of main facade.[Albumen print, 282x205mm]. General view of main facade. General view of main facade from the street.[Gelatin silver print, 132x80mm]. General view of main fa�ade, in Renaissance style. General view of main fa�ade, with equestrian statue of Sir Mark Cubbon at right. Caption notes read: 'Designed and built by Col (now Sir) Richard Sankey, 1864-1868, for the Mysore Chief Commissioner's offices. The Mysore Government now holds its offices in the buildings, and the Council of Regency meets weekly in the large central hall upstairs'. Duplicate at Photo 2/9 (3). General view of main fa�ade.[Albumen print, 373x305mm]. General view of main fa�ade.[Gelatin silver print (modern copy), 237x106mm]. General view of main fa�ade. Print in very poor condition, with overall spotting.[Albumen print, 246x191mm]. General view of main fa�ade. General view of main fa�ade. General view of main fa�ade from court. General view of main fa�ade from the street.[Albumen print, 379x311mm]. General view of main fa�ade from the street.[Printing-out paper, 312x257mm]. General view of main fa�ade of assembly hall. General view of main fa�ade of building. Print in poor condition, overall fading and yellowing.[Printing-out paper, 322x259mm]. General view of main fa�ade of the building, erected in 1889. Photo-etching, probably a proof for possible inclusion in the General report on the operations of the Survey of India...1888-89, but not published. A similar view is used as a whole page frontispiece to the report.This reproduction is printed on the same sheet as print 135 and dated September 1890, although probably photographed earlier. General view of main fa�ade of the Italianate building from driveway. General view of main fa�ade of the Qila-i-Kuhna Masjid. General view of main fa�ade of the single storey building. Print in very poor condition, with overall spotting.[Albumen print, 251x197mm]. General view of main fa�ade of the Victoria Commemoration Hospital from the driveway. Date of construction given as 1900 in tympanum of central pediment. See also Photo 430/41 (89). General view of main fa�ade of tomb, with European figure seated at top of steps. Duplicate of Photo 1000 (2424), where the print is captioned captioned, 'Sahib's Tomb, on the way to Shah Alam, Ahmedabad.' India Museum no. 522(a). General view of main pagoda. Second copy negative at B.25627. General view of main pagoda. Second copy negative at B.25628. General view of main range of building. Caption note continues: 'Supported by lavish grants and possessing the only full-sized football pitch in Bhagalpur, this was the chief rival to 'C.M.S.' [see print 1], especially during the dynamic head-mastership of Mr A.A. Kazimi'. General view of main range of buildings. Caption notes read: 'Built from funds subscribed by certain young ladies in Australia of the name of Hardwicke. The Institution is mainly intended for educating native Christian boys belonging to the Wesleyan Mission.' General view of main residency building. General view of main shrine. General view of main temple shrine. General view of main tower, with entrance in foreground. General view of mandapa, the roof of which is largely collapsed. General view of mandapa, with Indian man standing in the foreground. General view of mandapa, with tank in foreground. General view of mandapa. General view of mandapa. General view of mandapa. General view of mandapa and domed sanctuary tower. General view of mandapa with a hut-like brick roof with curved ridges. General view of market building. General view of Marochetti's angel. Faded print. General view of masonry-built stupa, with square base and circular drum. General view of massive, richly carved lintel. General view of Matthew Noble's statue of Queen Victoria, seated beneath an elaborate gothic canopy. The statue was unveiled in 1872. The statue, separated from its canopy, now stands in the grounds of the Dr Bhau Daji Lad Museum.[Albumen print, 225x281mm]. General view of medical school building from the street.[Albumen print, 255x194mm]. General view of memorial to the poet Camoens. Letterpress continues: 'This was erected by the owner of the grounds Lauren�o Marques, in the year 1811, in memory of 'Louis Camoens', the 'Portuguese Poet' - before this place was built there were three rocks which formed a sort of cave, and in this Camoens lived an 'exile' for many years - inside this tower is a bust of the poet - the place is more familiarly known as the 'Grotto'. General view of mess buildings. Print in poor condition, yellowing and damp-stained. Duplicate (in good condition) at Photo 2/3 (126). General view of mess buildings. General view of mess from garden. General view of military offices in the cantonment. General view of mills fed by a canal. General view of modern bungalow, with formal garden in foreground. General view of modern fort, with hillside beyond. General view of modern gateway, with background blocked out in negative. General view of modern gateway. General view of modern hospital buildings. General view of Mokalji Temple. General view of monastery, with excavation work in progress. General view of monastery and pagodas. The caption is unclear. A tagondaing is the long pole with streamers set up in the precincts of a Buddhist monastery (see print 32): nothing corresponding to this is immediately visible in this photograph. It may refer to the pagoda on the hill in central background of photograph. General view of monastery building, in Chinese style. With tagondaings (long wooden posts with streamers set up in monastery precincts) in the foreground. Possibly photographed during the Burma-China Boundary Commission. General view of monastery building, showing carved work of facade. The same building is also seen in Photo 1085/3(29).[Printing-out paper, 148x108mm]. General view of monastery building. Duplicate negative, no print. General view of monastery buildings, brick with a tiled roof. Elements of Thai and Chinese styles in the architecture. Typescript note on reverse reads: 'Typical Buddhist monastery, Keng Tung.' General view of monastery buildings, from below. General view of monastery buildings, in mixed Burmese-Chinese style, with two chinthes flanking the main entrance. General view of monastery buildings, showing elaborate carved eaves and tiered roofs.[Printing-out paper, 96x67mm]. General view of monastery buildings, with children in foreground. General view of monastery buildings, with chorten (stupa) at left. General view of monastery buildings, with hills behind. General view of monastery buildings, with mountains beyond. General view of monastery buildings, with wall running along ridge behind. General view of monastery buildings, with walls on hillside behind. General view of monastery buildings. (I.A. Map 28, B3). General view of monastery buildings.[Albumen print, 99x74mm]. General view of monastery buildings.[Printing-out paper, 115x89mm]. General view of monastery buildings.[Printing-out paper, 151x103mm]. General view of monastery buildings.[Printing-out paper, 152x110mm]. General view of monastery buildings. Dorje Pamo was the abbess and was visited by Bell during his mission to Lhasa (see The People of Tibet, pp. 165-168). General view of monastery buildings. Incorrectly identified as the Shwe Dagon Pagoda on the back of the print.[Gelatin silver print, signed 'G.W. Lawrie' in the negative, 274x231mm]. General view of monastery buildings. Letterpress continues: 'An unusual form of roof as may be seen by comparison with those of other kyoungs'. The peculiarity referred to is the way in which each decorated roof tier is not separated from its neighbour by a vertical storey, but runs straight into it. General view of monastery buildings. Or is this Mandalay? General view of monastery buildings. Or is this Mandalay? General view of monastery buildings. Some vignetting in sky area. General view of monastery buildings. General view of monastery buildings. General view of monastery buildings. General view of monastery buildings. General view of monastery buildings. General view of monastery buildings. General view of monastery buildings. General view of monastery buildings. General view of monastery buildings and cells on hillside. General view of monastery buildings and hillside behind. General view of monastery buildings at an unidentified location.[Albumen print, 147x100mm]. General view of monastery buildings at base of hill. General view of monastery buildings at Dongtse in the Gyangze valley. General view of monastery buildings at summit of steep, rocky hill. General view of monastery buildings clinging to the sheer cliff face above the Paro Valley. Also known as the Tiger's Lair. General view of monastery buildings on a hillside. General view of monastery buildings on a steep rockface. General view of monastery buildings on hillside. General view of monastery buildings on hillside. General view of monastery buildings on hillside. General view of monastery buildings on wooded hillside. General view of monastery opposite the British cemetery at Mandalay. General view of monastery remains. General view of monastery site, showing excavated stones. General view of monastery with pyatthat.[Albumen print, 218x273mm]. General view of monolithic pillar, surrounded by a modern brick wall. General view of monolithic ratha. General view of monolithic shrine. General view of monument, in gothic style. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 282. Margary, a Chinese consular official, was murdered at Manwein in February 1875 after travelling across Yunnan to Bhamo on an official mission. General view of mosque, in ruinous condition. General view of mosque.[Albumen print, 213x171mm]. General view of mosque. From south-east. General view of mosque. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 300: 'In addition to Nasratabad and Husseinabad, there remains the more modern part of the town, which I have already spoken of as Trenchabad. Separated from the rest of the city by a maidan...of some acres, it occupies an admirable site, and has the advantage of room for extension...Between two rows of buildings is a wide space, more nearly a square than a street, at one end of which flies the union-jack from a flagstaff planted in a solidly-built pedestal of mud. Behind the main block of buildings on the south side of the square are one or two other buildings, the most interesting of which is a mosque, if only for the fact of its having been built by an Englishman. The main buildings cover a space of about 150 yards by 70 yards, the whole site consisting roughly of 13 acres; and when it is considered that the whole of the buildings, including the consul's house, guard-room, cavalry lines, staff and servants' quarters, mosque and all, were completed for a sum of 2500 rupees (�166), Trenchabad may probably claim to be the cheapest town on record!' General view of mosque. General view of mosque. General view of mosque and surrounding buildings. General view of mosque and tannery buildings.[Printing-out paper, 319x261mm]. General view of mosque and tomb, with bridge at right. General view of mosque and tombs, with rock face beyond. General view of mosque exterior. General view of mosque gateway. General view of mosque in semi-ruinous condition. General view of mound, with temple at summit. General view of mound, with the small square temple at summit. General view of mound. General view of Mubarak Sayyid's Tomb. General view of much-damaged sculpture panel. General view of Muhammad Qutb Shah's Tomb. 'Situated in a straight line north to south with the Borrah Mosjeed's, this tomb, with the exception of that of Ebrahim Pascha, is the most magnificent of all the remains of the 'City of the Dead'. Its dome and upper portions - a pile as large as St Paul's in London - were covered with a beautiful enamel of different colours. Time and the spoiler's fingers have left but few vestiges of it on the tomb. Fragments of this enamel are to be found everywhere through the ruins of Golconda, some of which vie in brilliancy of colour with the jasper and the emerald.'[Albumen print, 246x199mm]. General view of Muhammad Qutb Shah's tomb. General view of multi-domed mosque, with near (south) end in ruins. General view of multi-tiered temple. General view of Munim Khan's Bridge across the Gumti at Jaunpur, incorrectly identified as Allahabad on back of print.[Gelatin silver print, 134x77mm]. General view of museum building, in mixed Indo-European style, with a frieze of elephants running round the building above the verandah. A number of sculpture slabs are displayed in front of the building. General view of nandi. Duplicate of Photo 1008/10 (454D).[202x153mm]. General view of Nandi pavilion and other shrines in the temple complex. General view of narthex, looking south. Print in poorish condition, with overall spotting.[Albumen print, 307x372mm]. General view of Naubat or Naqqar Khana. From east. General view of newly-built wing.[Printing-out paper, 252x198mm]. General view of newly-completed buildings. On the facing page is an architect's impression and plan of the main college buildings cut out from The Building News of 21 February 1879. General view of newly-completed buildings. General view of new premises. This is a photo-etching similar to that reproduced on p.lxx of the General report on the operations of the Survey of India...1888-89. General view of north face of mosque. Print in poor condition, with overall spotting.[Albumen print, 308x369mm]. General view of nunnery buildings. General view of octagonal, domed tomb in semi-ruinous condition. General view of octagonal building. General view of octagonal building with arched opening on each face. General view of octagonal building with shallow dome.[Albumen print, 373x302mm]. General view of octagonal tomb, with drum and dome. General view of office, with punkah above desk. General view of office interior, with European staff at work. The print is uncaptioned, but appears to show the interior of a telegraph office, probably at Rangoon.[Albumen print, mounted on modern card, 368x261mm]. General view of officers' quarters. General view of of monastery buildings on the hillside. General view of old caravanserai. General view of one of the drawing rooms during Lord Lytton's viceroyalty (a different room from print 265). This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, captioned in the negative and blind-stamped 'Bourne & Shepherd India', 289x206mm]. General view of one of the gopuras (?eastern entrance). General view of one of the Hindu temples at Polonnaruwa.[Albumen print, 275x214mm]. General view of one of the kiosks or pavilions in the grounds of the Yildiz Palace.[Albumen print, 245x199mm]. General view of one of the numerous forts in the Maidan District near Kabul. This fort is a square structure with polygonal corner towers. General view of one of the pair of massive elephants. See A. Cunningham, Four Reports made during the years 1862-63-64-65 (A.S.I. vol. I, Simla, 1871), pp. 225-230. General view of one of the three palaces in the Fort. Line of tethered horses in foreground. Duplicate at Photo 430/27 (7). General view of one of the two triple-arched gateways at Gur Ki Sarai on the Delhi-Karnal road. Record no. 392 of Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Delhi Zail (excluding Shahjahanabad), Calcutta, 1919), p. 271. General view of open-sided chhatri or pavilion over grave. General view of open-sided columned mandapa. General view of open-sided mandapa, in semi-ruined condition. Permission was given in 1911-1912, subject to certain conditions agreed to by the renovator, to demolish and reconstruct the Amman Shrine. General view of open-sided mandapa, with shrine at right General view of open-sided mandapa. General view of open-sided mandapa of the temple in the hill fort. Duplicate at Photo 3/2 (119). General view of open-sided pavilion over well, with inscription slab reading 'Removed from Delhi Fort and re-erected here in honor of H.R.H. the Duke of Connaught and Strathearn...by Lal Kishan Sahai Rais of Meerut 1885.' General view of open-sided pavilion over well. General view of open-sided pavilion with richly-carved columns. General view of open-sided shed, piled high with willow branches. The willow was used for making charcoal (see print 19).[Printing-out paper, 322x258mm]. General view of open-sided temple mandapa in the fort. Duplicate at Photo 1008/9 (2653). Another copy at Photo 3/1 (45).[202x153mm]. General view of ornately decorated doorway. General view of ornately-decorated gopura. General view of ornate mausoleum. Duplicate of Photo 1008/10 (1G).[152x203mm]. General view of outer walls and bastions. General view of outer walls of fort. General view of overgrown and dilapidated temple: 'A ruined temple three miles above Uri on the side of the tonga road...The east wall of the temple proper is dangerous and will have to be supported with a buttress. The site wants also to be cleared of vegetation...' General view of overgrown gateway, with two Europeans in foreground.[Albumen print, 165x220mm]. General view of overgrown ruins of building, presumably British. General view of overgrown tank with central shrine. General view of overgrown temple. General view of pagoda. Duplicate at Photo 92/6 (55).[Albumen print, 117x175mm]. General view of pagoda. General view of pagoda. The structure is under repair, with bamboo scaffolding around the lower half. A faded print.[79x128mm]. General view of pagoda and other buildings. General view of Pagoda and platform. Note scaffolding around dome (see print 115). Letterpress continues: 'From H.M. 84th Barracks'. General view of pagodas at Taungdo. General view of pagodas in the temple complex. General view of palace, lat and mosque. From west. General view of palace, with tank in foreground.[Gelatin silver print, 153x204mm]. General view of palace and tank. General view of palace buildings. General view of palace buildings from roadway. General view of palace complex. Print signed: 'Taken by Campbell Thomson'. General view of palace complex with Panch Mahal on the left. General view of palace entrance. General view of palm-weave building, raised on stilts.[Gelatin silver print, 80x108mm]. General view of Paro Dzong. General view of partially built school, under construction.[Albumen print, 251x189mm]. General view of partially excavated area. General view of partially excavated remains. General view of partially excavated site. General view of partially excavated stupa. General view of partly buried temple ruins. Duplicate at Photo 1000 (1284).[Carbon print ('Autotype'), 224x160mm]. General view of part of Miran site, poor quality image. (I.A. Map 30, B2). General view of part of Miran site. (I.A. Map 30, B2). General view of part of school buildings. Caption note on reverse continues: 'The achievement of Canon (later Bishop) S.K. Tarafdar, Principal c.1909-1934. Raghunandan Hall (shown) built 1917 (upper storey classrooms added 1928). Photo by Mr Donald Sunder, I.C.S. (retired), formerly Collector of Sundarbans.' General view of part of the Academy's buildings, looking across Tesvikiye (print with overall spotting).[Albumen print, 307x372mm]. General view of part of the ballroom. See also print 8. General view of part of the Palace at Mandalay, taken over for use as Government House by the British. Probably a Beato photograph: see duplicate at Photo 296/1 (2). General view of pavilion, showing archway openings blocked with jalis. General view of pavilion. from south-east. General view of pavilion. From south-west. General view of pavilion. General view of pavilion. General view of pavilion. General view of pavilion. General view of pavilion. General view of pavilion. General view of pavilion and terrace. General view of pavilion in the Hyat Bagh. From north. General view of pavilion surrounding unidentified Islamic tomb. This is a square structure with three arches on each face and a crenellated parapet. General view of pile of massive masonry, all that remains of the temple.[Printing-out paper, 274x211mm]. General view of pillar, with broken capital, and inscription on base. Described in A. Cunningham, Four reports made during the years 1862-63-64-65 (A.S.I. vol. I, Simla, 1871), pp. 97-99. See also North-West Provinces list, p. 229: '[The inscription] chiefly refers to the reign of Skandagupta, closing with his death and the accession of his son, Kumaragupta Mahendra, and records the erection of a sacred image of Vishnu, and the allotment, to the image, of the village in which the column stands.' General view of pillared hall. General view of pillar in paved courtyard. General view of plain stone temple, much overgrown with vegetation. General view of platform of palace ruins, with square watchtower at left. General view of platform of palace ruins, with square watchtower at right. General view of police accommodation.[Gelatin silver print, 290x239mm]. General view of police accommodation.[Gelatin silver print, 291x241mm]. General view of police post. Baba Haji is about 20 miles south of Shiraz. (Ancient Persis Map, A2). General view of police station, similar in style, although larger, than the buildings seen in prints 29-30. See also print 7.[Printing-out paper, 316x258mm]. General view of police station, with mosque in background.[Printing-out paper, 319x260mm]. General view of police station.[Printing-out paper, 319x261mm]. General view of police station at the water's edge.[Printing-out paper, 319x255mm]. General view of police station from roadway.[Gelatin silver print, 284x241mm]. General view of post-and-lintel gateway, with sculptured periment above. General view of Potala and the town below from the south-west. General view of powder magazines on hillside. Print in poor condition, overall fading and yellowing.[Printing-out paper, 323x260mm]. General view of premises. General view of prison house. Duplicates at Photo 1008/9 (2363) and Photo 3/1 (42).[202x152mm]. General view of pyramidal sanctuary tower, with mandapa in foreground. General view of pyramidal tower. Duplicate of Photo 1008/9 (2301).[Silver printing-out paper, 156x215mm]. General view of quadrangle. General view of Queen Victoria statue and canopy. General view of Qutb Minar and surrounding buildings. In the right foreground is the cupola that was erected at the summit of the monument and late removed, with the arched gateway of the Quwwat-ul-Islam Mosque beyond. On the left is the Alai Darwaza, with Adham Khan's Tomb beyond. General view of railway sheds and water tanks. General view of railway station.[Gelatin silver print (modern copy), 241x115mm]. General view of Rajagiri Hill. Duplicate at Photo 1008/7 (1509).[202x153mm]. General view of Rajarani Temple. General view of range of buildings. Print in poor condition, overall yellowing. At the back, faint view of the domes of, Hagia Sophia and Hagia Eirene.[Printing-out paper, 322x258mm]. General view of rear fa�ade of palace. General view of rear of house.[Albumen print, 205x162mm]. General view of rear of temple. General view of recently completed buildings.[Silver developing-out paper, 287x212mm]. General view of recently completed market building.[Silver developing-out paper, 294x235mm]. General view of remains. General view of remains. General view of remains. General view of remains. General view of remains from south-west corner.[Gelatin silver print, 200x152mm]. General view of remains of dwellings at L.R. Photographed by Afrazgul Khan while investigating remains in the Lop Desert west of Lou-lan on Stein's orders (I.A. Map 29, C4). General view of renovated building on street corner, with guard and sentry box.[Printing-out paper, 255x304mm]. General view of repairs. General view of Residency. General view of Residency. General view of residency building from garden, with carriage on driveway. Initials of resident in caption partly torn away. These initials also appear in print 20. General view of residency buildings, a series of connected thatched houses, raised on stilts. This loose photograph, cut out from from the album, was originally placed after print 123.[Albumen print, 179x117mm]. General view of Residency buildings from garden. General view of Residency from garden. General view of resthouse, a verandahed bungalow raised on stilts.[Cyanotype, 204x155mm]. General view of rest house and outbuildings. General view of richly carved tomb, composed of sandstone slabs with intricate relief patterns. Gedrosia, described p. 180, and reproduced fig. 20. General view of river frontage. General view of rock-cut sculpture, taken from the right. Duplicate of Photo 1008/10 (422D).[201x156mm]. General view of rock-cut temple. General view of rock face, showing preliminary cuttings. General view of rock-face and caves. General view of roofless ruins of unidentified building. Duplicate at Photo 3/2 (120). General view of room, possibly at the Byculla Club, with good view of furniture and with a camera on a tripod in the background.[Albumen print, 179x126mm]. General view of room, with desk and despatch boxes in foreground. The calendar on the desk reads 'Monday February 19', a conjunction which occured in 1900 rather than 1899.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 292x205mm]. General view of room.[Sepia toned print, 131x75mm]. General view of rough, stone-built conical tomb. (Ancient Persis Map C3). General view of row of cells. General view of row of shrines in the Lakshmi Narayana Temple complex. General view of Royal Cenotaphs. General view of ruined audience hall. (Ancient Persis Map B2). General view of ruined brick temple. General view of ruined Buddhist stupa. For a more distant view see print 42. No. 40 in Burke catalogue of Afghan War views. General view of ruined building. (I.A. Map 28, C3). General view of ruined building.[Gelatin silver print (modern print), 111x73mm]. General view of ruined building. Duplicate at Photo 1008/9 (2728).[112x156mm]. General view of ruined building. General view of ruined building. General view of ruined building. The dome of the brick-built tomb is in a largely collapsed state. Described, Gedrosia, pp.170-171. General view of ruined building of unspecified purpose. Duplicate at Photo 1008/9 (2652).[202x154mm]. General view of ruined buildings. Precise location undetermined. General view of ruined buildings. General view of ruined fort, a little more distant than print 96. Duplicate at Photo 1008/8 (2171).[203x153mm]. General view of ruined fort. Archaeological Reconnaissances, fig. 46: 'Fort of Gust-i-Burjan with surrounding mounds.' General view of ruined gateway: 'Two miles further on we reach the endowment of Firuzpur. A lofty brick gateway leads to the house of the saint Nyamatullah, whose descendants still live there...'[Woodburytype, 235x189mm]. General view of ruined gateway. the entrance arch has collapsed. General view of ruined gopura, with modern buttressing under construction. General view of ruined monastery building. Innermost Asia, vol. 2, fig. 333: 'Ruin of Buddhist vihara, Yar. I, Yar-khoto, seen from south-east.' (I.A. Map 28, B3). General view of ruined mosque, much overgrown. General view of ruined mosque. Archaeological Reconnaissances, fig. 68: 'Ruined mosque, Siraf, seen from south-east.' General view of ruined Nandi pavilion. General view of ruined palace. Duplicate at Photo 430/27 (48). General view of ruined pigeon tower. General view of ruined shrine, looking along the double row of fluted brick columns towards the standing Buddha image on the far wall.[Geltin silver print, 55x80mm]. General view of ruined structure. Faded print.[104x146mm]. General view of ruined structure. General view of ruined stupa mound. Innermost Asia, vol. 1, fig. 146: 'Effects of wind-erosion near ruined stupa, L.A. XI, Lou-lan Station.' (I.A. Map 29, D3). General view of ruined temple: 'Muni Bava's Temple is a small building about 4 miles south of Than. This is an interesting temple, being of the same style and age as the old temple now pulled down, at Tarnetar. The full-length griffons, or lions rampant, repeated in the recesses of the walls, are a peculiar feature, these animals in full not being ordinarily found outside the Dravidian style of Southern India...The temple...is now a ruin. Its mandapa is collapsing, and but a small portion of the sikara is standing' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 4). General view of ruined temple. General view of ruined temple. General view of ruined temple tower. Archaeological Reconnaissances, fig. 6: 'Ruins of Hindu temple, Nandana, seen from north-west [sic].' General view of ruined temple tower. General view of ruined Tirumala Nayaka Palace buildings. General view of ruined tomb. (Ancient Persis Map B1). General view of ruined tomb. General view of ruined tower, with octagonal room on top of platform. General view of ruins, probably palace buildings. General view of ruins, slightly more distant than print 2170. General view of ruins.[Albumen print, 270x193mm.] General view of ruins.[Gelatin silver print, 133x82mm]. General view of ruins. Another view of this structure, published in Innermost Asia, is identified as L.A. II (see print 130). (I.A. Map 29, D3). General view of ruins. From east. General view of ruins. From north. General view of ruins. From south. General view of ruins. From south-east. General view of ruins. From west. General view of ruins. One of three temples examined by Cousens at Dhotra: 'The one about a quarter of a mile south of the village, in the fields, is the most important. It is a temple of Siva and faces the east. It consists of a shrine and closed mandapa, and has but one entrance on the east...The exterior of the temple is fully moulded in ornamental bands, but there are no images whatever, not even the usual three niches round the walls of the shrine. There seems little doubt that these temples more or less devoid of figure sculpture upon the exterior represent the true Hemadpanti class...This building should be included in the first class for conservation purposes...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 14). For earlier views of the temple, taken by Robert Gill in 1871, see Photo 1000 (1985-1988). General view of ruins. Originally built as a madrasa, and extended by Mahmud Shah to become his tomb. General view of ruins. General view of ruins. General view of ruins. General view of ruins. General view of ruins. General view of ruins. General view of ruins. General view of ruins. General view of ruins. General view of ruins. General view of ruins of a masonry tower. General view of ruins of a masonry tower. General view of ruins of arcaded structure. General view of ruins of domed tomb. General view of ruins of domed tomb near the Chashmi spring. General view of ruins of fort, probably damaged in the earthquake of 1905. General view of ruins of madrassa. Archaeological Reconnaissances, fig. 67: 'Ruined structure known as 'Madrasa', Siraf, seen from east.' General view of ruins of small mosque. Archaeological Reconnaissances, fig. 84: 'Ruined mosque at Fal, Galehdar.' General view of ruins of temple, showing carved brickwork of fa�ade. General view of ruins of temple (?)mandapa. General view of ruins of the Residency from the garden. General view of ruins of the Surya Temple. General view of ruins of walls. General view of Safdar Jang's Tomb, oval vignette. General view of Safdar Jang's Tomb. General view of sanctuary, in ruinous condition. General view of sanctuary and tower. General view of sanctuary tower, with part of mandapa in foreground. General view of sanctuary tower. General view of sanctuary tower. General view of sanctuary tower. General view of sanctuary tower of the Jain temple. General view of sanctuary tower with wooden umbrella-like superstructure General view of scaffolding and building work in progress. General view of school building, with pupils informally posed in groups in front, in uniforms. Faded print.[Albumen print, 249x182mm]. General view of school building, with pupils lined up in front.[Albumen print, 252x190mm]. General view of school building, with students gathered in front. Print in poor condition, with overall fading.[Albumen print, 252x199mm]. General view of school building.[Albumen print, 250x188mm]. General view of school building.[Albumen print, 251x188mm]. General view of school building.[Albumen print, 251x189mm]. General view of school building.[Albumen print, 251x189mm]. General view of school building.[Albumen print, 251x189mm]. General view of school building.[Albumen print, 251x190mm]. General view of school building.[Albumen print, 252x190mm]. General view of school building.[Albumen print, 253x187mm]. General view of school building.[Albumen print, 255x195mm]. General view of school building. A faded and yellowed print.[Albumen print, 251x190mm]. General view of school building. A somewhat faded print.[Albumen print, 250x188mm]. General view of school building. Faded print.[Printing-out paper, 233x163mm]. General view of school building. Print in very poor condition, with overall spotting and fading.[Albumen print, 251x198mm]. General view of school building. Students in uniforms.[Albumen print, 251x190mm]. General view of school building from street.[Albumen print, 255x194mm]. General view of school building from street.[Albumen print, 255x195mm]. General view of school building from the courtyard, with a teacher and pupils posed for the camera. Two students holding a flag.[Albumen print, 254x195mm]. General view of school building from the street.[Albumen print, 194x240mm]. General view of school building from the street.[Albumen print, 197x253mm]. General view of school building from the street.[Albumen print, 198x240mm]. General view of school building from the street.[Albumen print, 199x239mm]. General view of school building from the street.[Albumen print, 199x245mm]. General view of school building from the street.[Albumen print, 200x247mm]. General view of school building from the street.[Albumen print, 200x249mm]. General view of school building from the street.[Albumen print, 200x250mm]. General view of school building from the street.[Albumen print, 200x252mm]. General view of school building from the street.[Albumen print, 201x247mm]. General view of school building from the street.[Albumen print, 249x184mm]. General view of school building from the street.[Albumen print, 249x185mm]. General view of school building from the street.[Albumen print, 249x192mm]. General view of school building from the street.[Albumen print, 251x189mm]. General view of school building from the street.[Albumen print, 251x189mm]. General view of school building from the street.[Albumen print, 251x199mm]. General view of school building from the street.[Albumen print, 251x200mm]. General view of school building from the street.[Albumen print, 252x189mm]. General view of school building from the street.[Albumen print, 252x193mm]. General view of school building from the street.[Albumen print, 254x194mm]. General view of school building from the street.[Albumen print, 255x193mm]. General view of school building from the street.[Albumen print, 255x193mm]. General view of school building from the street.[Albumen print, 255x194mm]. General view of school building from the street.[Albumen print, 255x195mm]. General view of school building from the street. In the background, view of the dome and the minaret of what is probably the Yeni Valide Mosque in Aksaray.[Albumen print, 200x242mm]. General view of school building from the street. On the panel attached to the building, writes the name of the school ' Hadika-i al Marif'.[Albumen print, 201x251mm]. General view of school building from the street. The original location of 'Damas' has been corrected at a later date to Tripoli.[Albumen print, 251x189mm]. General view of school building from the upper storey of an adjoining building.[Albumen print, 249x185mm]. General view of school buildings, with pupils gathered in front.[Albumen print, 239x171mm]. General view of school buildings, with students gathered on balcony and at windows. Faded print.[Albumen print, 248x185mm]. General view of school buildings.[Albumen print, 235x185mm]. General view of school buildings.[Albumen print, 251x189mm]. General view of school buildings.[Albumen print, 254x194mm]. General view of school buildings.[Albumen print, 255x194mm]. General view of school buildings. Faded print.[Albumen print, 251x189mm]. General view of school buildings. Print in very poor condition, over all spotting and fading.[Albumen print, 252x193mm]. General view of school buildings. Print in very poor condition, with overall spotting.[Albumen print, 194x251mm]. General view of school buildings. General view of school buildings from street.[Albumen print, 255x193mm]. General view of school buildings from street. School for the children of tribesmen.[Albumen print, 255x193mm]. General view of school buildings from the street.[Albumen print, 195x254mm]. General view of school buildings from the street.[Albumen print, 200x239mm]. General view of school buildings from the street.[Albumen print, 201x250mm]. General view of school buildings from the street.[Albumen print, 201x251mm]. General view of school buildings from the street.[Albumen print, 251x198mm]. General view of school buildings from the street.[Albumen print, 254x193mm]. General view of school buildings from the street.[Albumen print, 255x193mm]. General view of school building under construction.[Albumen print, 251x190mm]. General view of school building under construction. Faded print.[Albumen print, 252x190mm]. General view of school from road. General view of sculpture, also seen in plate 96. Faded print. General view of sculpture. Faded print. General view of sculpture. Faded print. General view of sculpture of sdtanding Tara image. Faded print. General view of sculpture panel. General view of sculpture panel. General view of sculpture panel. General view of Secretariat buildings from grounds. General view of section of the 'Elephant Wall', which encloses the Ruanweli Dagaba.[Albumen print, signed 'Lawton' in the negative, 276x216mm]. General view of section of wall, pierced with roosting holes for pigeons. General view of section of wall. General view of Shah Begam's Tomb. General view of Shaikh Salim Chishti's Tomb in the court of the Jami Masjid at Fatehpur Sikri.[Carbon print, 83x96mm]. General view of shikara. General view of Shore Temple, with sea beyond. General view of shrine, with well in foreground. General view of shrine. Signed H.D. in the negative. India Museum no. 627. Duplicate of Photo 1000 (2258a) and (2570). General view of shrine. General view of shrine. General view of shrine. General view of shrine. General view of shrine. General view of shrine. General view of shrine in print 160, seen from a different angle.. General view of shrines. General view of shrines in the pagoda complex. General view of shrines on Hemakuta Hill. General view of shrines on the platform of the Shwe Dagon Pagoda. General view of shrines General view of shrine with vaulted roof. General view of Shwe Zigon Pagoda, with chinthes in foreground. Second copy negative at B.25616. General view of signal tower, looking out over Suda Bay.[Printing-out paper, 247x304mm]. General view of single storey barrack buildings. Print in poor condition, with overall spotting.[Albumen print, 387x308mm]. General view of single storey barracks with corrugated iron roof.[Gelatin silver print, 99x62mm]. General view of single storey brick godown. General view of single storey building.[Printing-out paper, 323x262mm]. General view of single storey building. In the foreground is a recently laid-out vegetable garden, protected from the wind by wooden fencing. General view of single storey building from the street.[Printing-out paper, 310x261mm]. General view of single storey bungalow.[Gelatin silver print, 139x80mm]. General view of single storey stone building.[Printing-out paper, 310x260mm]. General view of single-storey stone building. Print in poor condition, overall yellowing and some fading.[Printing-out paper, 322x259mm]. General view of single storey stone resthouse.[Printing-out paper, 140x83mm]. General view of Singram Singh's Cenotaph at Ahar.. General view of site, with Dhamkh Stupa in background. General view of site, with excavated chaitya hall in foreground. General view of site, with river beyond. Innermost Asia, vol. 1, fig. 70: 'Ruins near Jangal-gumbaz, above Tash-kurghan River.' (I.A. Map 3, C1). The site was not surveyed in detail by Stein: 'Owing to the late hour I was unable to examine it closely; but during my busy day at Tash-kurghan I had a plan and photograph of it taken by Surveyor Afraz-gul.' (i, 57). General view of site, with some remains. General view of site, with three Europeans posed in the centre. General view of site, with workers digging. General view of site. All that remains standing are the pillars of the pavilion, grouped among trees on a small knoll. See also print 7.[Albumen print, signed 'Lawton' in the negative, 280x206mm]. General view of site. Innermost Asia, vol. 1, fig. 99: 'Site of ruin N. XLII, Niya site, seen from south-west before excavation.' (I.A. Map 19, B1). General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site (unexcavated). General view of site after excavation. General view of site under excavation. General view of Sitta Zubayda's Tomb (late Abbasid period, 12th-13th century). Octagonal brick tomb with conical dome.[Gelatin silver print, 90x125mm]. General view of sitting room, showing furnishings.[Sepia toned print, 134x77mm]. General view of small, four-columned, open-sided mandapa. General view of small bungalow on hillside. General view of small dilapidated temple: 'Two temples near the village, and one near the river, are in a sad state of ruin, while another south of the village of Jatkari is practically past repairs, its sikhara being a shattered mass of loose stones piled in the most dangerous unstable manner...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 17). General view of small early Pallava Vishnu shrine carved from a massive granite boulder. The image of Vishnu on the rear wall can be seen through the entrance (see also print 1397D). General view of small Jain temple in one of the tuks.[?Collodion printing-out paper, signed 'M.P.' in the negative, 204x151mm]. General view of small mosque. General view of small pavilion. General view of small ruined temple. General view of small shrine. General view of small shrine. General view of small shrine. General view of small shrine in temple. General view of small shrine showing carved architraves around doorway. General view of small stone building.[Printing-out paper, 320x260mm]. General view of small stone building.[Printing-out paper, 321x258mm]. General view of small stone building. Print in poor condition, overall fading and yellowing.[Printing-out paper, 322x258mm]. General view of small stone nandi pavilion.[Albumen print, 150x106mm]. General view of small stone temple, much overgrown. General view of small temple, partially overgrown with vegetation. General view of small temple, showing modern restoration in the form of brickwork buttresses and side and rear of building. General view of small temple, with sculpture panels on near facade. Small format print. General view of small temple. General view of small temple. General view of small temple shrine. General view of small thatched house, with fenced pig-sty attached. General view of small thatched house.[Gelatin silver print, 99x73mm]. General view of small tombs? Small faded print. General view of small verandahed house on the Bund. General view of small wooden building.[Printing-out paper, 311x259mm]. General view of small wooden building near the police station (see print 31).[Printing-out paper, 320x261mm]. General view of small wooden building with corrugated-iron roof.[Gelatin silver print, 135x79mm]. General view of south face, with measuring scales placed horizontally and vertically in doorway. Albumen print duplicate at Photo 1000 (1277).[Carbon print ('Autotype'), 258x191mm]. General view of south face. General view of south fa�ade, with cenotaph visible within chamber.[Gelatin silver print, 205x152mm]. General view of south fa�ade, with the Qutb Minar in the background.[Gelatin silver print, 290x237mm]. General view of south fa�ade. Albumen print duplicate at Photo 1000 (1254).[Carbon print ('Autotype'), 221x166mm]. General view of spinning machines.[Albumen print, 377x314mm]. General view of square, brick-built tomb, with octagonal drum and dome. General view of square, domed building. General view of square, domed tomb. General view of square, domeless tomb. General view of square chamber with shallow dome. General view of square masonry-built tomb (unrendered), with dome. General view of square pigeon tower. General view of square stone tower, from below. General view of square tomb with curved eaves. General view of stable block.[Printing-out paper, 320x250mm]. General view of stable buildings from above. General view of stable compound. General view of stables. General view of standing Buddha image. Faded print. General view of standing columns. Faded print. General view of St Andrew's Kirk. General view of station buildings, probably taken shortly after completion.[Albumen print, 292x215mm]. General view of station buildings, with a train drawn up. General view of steps. General view of step-well. General view of St James's Church, known as Skinner's Church after Col James Skinner, who commissioned the building. Designed by Maj Robert Smith, it was built between 1826�36, with a cruciform plan, three porticoed porches and a central octagonal dome. Duplicate of Photo 193 (2). General view of St Mathias' Church. General view of stone barn.[Printing-out paper, 319x258mm]. General view of stone bridge. General view of stone bridge. General view of stone building.[Printing-out paper, 320x254mm]. General view of stone building.[Printing-out paper, 322x260mm]. General view of stone building. General view of stone buildings, with mountainside beyond. General view of stone-built bungalow with corrugated-iron roof, with elephants in garden in foreground.[Printing-out paper, 136x83mm]. General view of stone gateway, with temple entrance beyond. 'This is of Indian design without the Chinese additions of the eastern gate. The southern and western gates are like this north gate, except that the images on the other two gates are different.' General view of stone house on hillside. General view of stone temple, with mandapa in foreground. General view of stone temple, with thatched roof. General view of stonework. General view of St Patrick's Cathedral, with the convent to the left. The buildings also appear in the background of print 26. General view of St Paul's. General view of St Paul's Cathedral. General view of street, with hillside beyond. General view of street fa�ade of fountain, with mosque in background.[Albumen print, 383x308mm]. General view of street leading to palace General view of structure, with pencilled note in sky area reading, 'On top of Rajagiri Hill. Called Flag-staff building.' Duplicate at Photo 1008/7 (1514).[152x203mm]. General view of structures. Photographer's signature and number trimmed off print, but see duplicate at Photo 254/2 (35). General view of St Stephen's Church. General view of stupa, covered in scaffolding.[Gelatin silver print, 80x56mm]. General view of stupa, framed by tree in foreground.[Gelatin silver print, 55x80mm]. General view of stupa, showing new stonework. General view of stupa, showing niches with Buddha images. Innermost Asia, vol. 2, fig. 316: 'Ruined shrine, Sirkip, seen from south-east.' (I.A. Map 28, D3). General view of stupa, with the west gaterway at the left.[Gelatin silver print, 177x129mm]. General view of stupa. 'The Buddhist tope known as Thul Rukhan is nine miles east by south from Daulatpur and fifteen miles due east of Sehwan. It is built of brick, but is greatly dilapidated. It would appear to have been built in four tiers surmounted by a dome, each tier being smaller than that below it and separated from it by a string course of semicircular moulding. The face of each tier is ornamented by pilasters at intervals, each having its base and ornamental capital...There are the remains of several of these topes in Sind...' ('Progress Report of the Archaeological Survey of Western India. For the months September 1895 to April 1896', p. 9). General view of stupa.[Geleatin silver print, faded, 55x80mm]. General view of stupa. Innermost Asia, vol. 1, fig. 149: 'Ruined stupa to north-west of Lou-lan Station. (See Serindia, i. p. 394). (I.A. Map 29, D3). General view of stupa. General view of stupa. General view of stupa. General view of stupa. General view of Stupa 1.[Gelatin silver print, 202x149mm]. General view of Stupa 1.[Gelatin silver print, 290x227mm]. General view of Stupa 1. Fold in print due to tight binding.[Gelatin silver print, 290x225mm]. General view of Stupa 2, at the western end of the site.[Gelatin silver print, 282x235mm]. General view of stupa foundations after excavations. General view of stupa group. (I.A. Map 25, D3). General view of stupa group. (I.A. map 28, B3). General view of stupa mound, with octagonal brick building on summit. General view of stupa mound.[Gelatin silver print]. General view of stupa mound. General view of stupa mound. General view of stupa remains. (I.A. Map 29, D3). General view of substantial brick house, with three courses of decoratively arranged brickwork running along the length of the building above the level of the door lintel. Gedrosia, fig. 36. General view of substantial thatched bungalow. For another view of the building, see Photo 211/1, which states that it is near the Post Office. The cupolas of the Punjabi Library (see print 112) can be seen in the background. General view of Sultan Khusru's Tomb. General view of Sultan Nithar Begam's Tomb. General view of sundial. See note at Photo 1007/16(3894).[Gelatin silver print, 150x197mm]. General view of Table Island Lighthouse and associated buildings. General view of tank, central pavilion and surrounding arcade.[Albumen print, 274x213mm]. General view of tank, with central shrine. General view of tank. General view of tank among trees. The Panja Sahib Tank is a Sikh shrine. General view of tank and temples. General view of tank bordered by stone steps. General view of tanks, with gopuras beyond. General view of tea estate bungalow, with European family group and servants on verandah, and hills in background.[Albumen print, 218x167mm]. General view of tea factory building, constructed from corrugated iron. General view of tea factory buildings. General view of temple, built from rubble masonry. General view of temple, in ruinous condition. General view of temple, in ruinous condition. General view of temple, in ruinous condition and largely overgrown. General view of temple, in semi-ruinous condition. (?)Possibly the Satbis Deori Temple. Signed in the negative O.S. Baudesson 1882. General view of temple, in semi-ruinous condition. (?)Possibly the Satbis Deori Temple. Signed in the negative O.S. Baudesson 1882. General view of temple, largely overgrown with vegetation. General view of temple, showing the collapsing state of the pyramidal masonry roof. Albumen print duplicate at Photo 1000 (1282).[Carbon print ('Autotype'), 226x176mm]. General view of temple, standing on a raised stone terrace near the river. Cousens refers to it as 'another of these clumsily built modern whitewashed structures, in which are some old pillars and carving, but nothing of special note' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 26). General view of temple, the roof overgrown and largely ruined. General view of temple, undergoing restoration. General view of temple, under scaffolding. General view of temple, with a banyan tree and other vegetation growing from the roof. The same temple, seen from a similar angle, can also be seen R.B. Oakeley's photograph at Photo 959 (49). A view of the same shrine is reproduced in James Fergusson, 'History of Indian and Eastern Architecture', vol. I, p. 443, 1910 edn., and there identified as the Kedaresvara Temple. Photograph unsigned, but probably by Dixon.[Albumen print, 274x227mm]. General view of temple, with a free-standing mandapa in front of the main shrine. A nandi sits off to one side in the middleground, apparently abandoned. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 35: '...the lerge, plain, but substantially built temple...On either side of the main porch is a large perforated screen wall, neatly designed in imitation of cross-bars, and slightly decorated. The building looks heavy and massive, and the pillars of the hall are very well proportioned...' General view of temple, with collapsed mandapa. General view of temple, with free-standing gateway building boyond. General view of temple, with free-standing nandi pavilion in the foreground: '...a recently built temple, in which beams and bases of an older one have been used. It is of no particular interest. It is a three-shrined temple with a large central mandapa...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 2). General view of temple, with lamp-column at right. General view of temple, with large inscription slabs standing in foreground. Print signed H.D. in the negative. India Museum no. 624. Duplicate of Photo 1000 (2255a) and (2567). General view of temple, with nandi in front: '...At Khatav we did find some remains that interested us, - several old temples of the Hemadpanti class. Among these, that of Naganatha, across the stream bed upon the north-west of the town, was the most complete and deserving of notice. It...has an open front with a neatly ornamented fa�ade. Ganapati presides over the shrine door while the linga is established within. The shikara or spire has gone...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 2).[Printing-out paper, 238x187mm]. General view of temple, with open sided mandapa in foreground. General view of temple, with open sided mandapa in foreground. General view of temple, with pilgrims on the roadway in front of the buildings. Print surface squared off in pencil to serve as an artist's reference. General view of temple, with shikara intact. '...A very solidly built structure, whose walls are severely plain. The pillars within are also plain but are well proportioned' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 3).[Printing-out paper, 243x188mm]. General view of temple, with stepped pyramidal sanctuary roof. General view of temple, with tank immediately in front: 'The temple of Ramalinga, outside the village, is a neat little combination of kunda or tank and shrine, the latter standing upon the west margin of the tank and forming part of the one general design. There is a row of the usual grossly indecent figures on the front wall of the temple. The tank is square with flights of steps leading down to the water's edge from an inside platform which runs around some distance below ground level, a stair leading down to it from the eastern side opposite the shrine' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 3).[Printing-out paper, 193x230mm]. General view of temple, with tiered roof of wooden tiles. General view of temple: '...between Baramula and Rampur. This building was restored some forty years ago by Diwan Kirpa Ram, and was lately provided with a zinc roof. At present the two side walls of the entrance gateway are out of plumb and will have to be rebuilt...' (Annual report, p. 25). General view of temple. 'About a quarter of a mile to the west of these ruins are what are known as Rathirani's palace and temple. The temple contains an inscription which informs us that it was built by Suhavadevi in A.D. 1168 and dedicated to Suhavesvara. The temple faces the east, and was erected on a high eminence, from which runs a flight of stairs. In the sanctum is a linga, the pedestal of which is beautifully carved. Both the interior and the exterior of the temple are plain. The sikhara has partly fallen, and what remains of it shows that it was but partially carved.' (Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 58)> General view of temple. 'The [seventeen] photographs [of architecture in the Midnapore District] are the work of Mr W. Campbell, of the Bengal Police, and although it will be seen from the Collectors letter, that Mr Campbell has declined to put any price on his works, I would suggest that a sum of Rupees 250 may be given to him, as I am informed by a gentleman, who is a practical photographer, that this is a fair remuneration. [Letter dated 27 March 1869, from C.T. Buckland, Bengal General Proceedings, no.102 of April 1869, IOR/P/432/5].India Museum no. 200, received 3 August 1869. Duplicate of Photo 1000 (2189a). General view of temple. 'The Navalakha Temple which stands at the north-west corner of the village, though now in a badly ruined condition, is one of the finest old temples in Kathiawar. It faces east and is dedicated to Siva. It is in a terribly shattered condition, nearly every beam in the mandapa being cracked, and the sikara or spire has in great part fallen, leaving a great gap in the roof open to the sky. The temple is covered with carving, and the crispness of the same, after so many years of weathering, is remarkable. Being built in reddish-yellow sandstone of uniform tint, the appearance of the work is very pleasing...The whole temple is built upon a high solid brick foundation as that of Surya at Mudhera.' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 4). General view of temple.[Albumen print, 257x201mm]. General view of temple.[Gelatin silver print, faded, 80x55mm]. General view of temple.[Printing-out paper, 95x70mm]. General view of temple. Albumen print duplicate at Photo 1000 (1274).[Carbon print ('Autotype'), 165x208mm]. General view of temple. Duplicate at Photo 10/12 (41). General view of temple. Duplicate at Photo 1000 (1246).[Carbon print ('Autotype'), 258x190mm]. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. General view of temple. The shikara has collapsed. General view of temple (in semi-ruinous condition). General view of temple and compound. General view of temple and free-standing gateway. General view of temple and ghats. General view of temple and monastery buildings. General view of temple and tank, somewhat faded.[278x212mm]. General view of temple and the Amrita Sarovar or Pool of Nectar tank. General view of temple at Hawkkam. A faded snapshot. General view of temple at Keng Tung. General view of temple building, a square structure with tirered roof. This is presumably the Shiva Devale No. 2, one the Hindu temples around Polonnaruwa.[Albumen print, signed 'Lawton' in the negative, 281x213mm]. General view of temple buildings, with mandapas and nandi pavilions at left. Duplicate at Photo 2/9 (39). General view of temple buildings.[Albumen print, 289x214mm]. General view of temple buildings.[Printing-out paper, 114x89mm]. General view of temple buildings. General view of temple buildings near the sacred pond. General view of temple complex, built in southern Indian style, with gopuras. General view of temple complex, from the upper storey of a neighbouring building, looking down onto the east entrance. The column in the right foreground originally stood in front of the Surya Temple at Konarka. General view of temple complex, showing towers of Siva Temples. This print joins with print 1375 to form a panoramic view. General view of temple complex, showing towers of the Siva Temples. This print joins with print 1376 to form a panoramic view. General view of temple complex.[Lantern slide, 75X75 mm]. General view of temple complex. General view of temple complex. The caption to this view given in the Bourne & Shepherd catalogue is 'Group of modern temples, built by Seth Luchmee Chund.' This large temple, with gopuras in southern Indian style, was built in the 19th century by the banking firms or seths of Muthara. General view of temple fa�ade. General view of temple from outside perimeter wall. General view of temple from outside perimeter wall. General view of temple from outside precincts. Print unsigned, possibly by Henry Dixon.[Albumen print, 290x222mm]. General view of temple from south-west. See note at print 1603. General view of temple from the roof of an adjoining building. General view of temple gopura. Duplicate (later printing) of Photo 1000 (2993). Another copy at Photo 212/3 (13). General view of temple gopura. General view of temple group, with a religious festival of some sort taking place in the foreground. General view of temple group. General view of temple mandapa in the hill fort. Duplicate of Photo 1008/9 (2653). Another copy at Photo 3/2 (119).[Gelatin silver print, 198x149mm]. General view of temple pagoda.[Printing-out paper, 80x141mm]. General view of temple precincts. General view of temple remains, showing banded friezes at base. General view of temple remains. General view of temple ruins, largely overgrown and obscured by trees. Duplicate at Photo 1000 (1251). Compare also Photo 1224/2 (116). General view of temple ruins. 'The largest [of the two temples], the temple of Mahadeva, is in the town, and consists of three shrines with one central mandapa. It faces the east, and has Ganesa over the shrine doorway. The doorways are elaborately carved...The sikhara was probably built of brick-work, since some brick masonry remains upon the roof, and carved sikhara stones exist. The roof is covered with bushes and shrubs, and the building is surrounded by houses, and is in a filthy state' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 7). General view of temple ruins. Photographed by Cousens' assistants. General view of temple ruins. General view of temples, with Parshvanatha in the foreground. This photograph, taken by Colin Murray during a photographic tour of Western India in 1872-73, also appears in James Burgess, 'Photographs of Architecture and Scenery in Gujarat and Rajputana' (Bourne and Shepherd, 1874): see Photo 970 (7). General view of temples, with Parshvanatha Temple in foreground. Photograph by Colin Murray for Bourne and Shepherd. Another copy at Photo 50/2 (152). General view of temples, with sculpture fragments in foreground. General view of temples. Duplicate of Photo 1000 (2465). General view of temples. Duplicate of Photo 1000 (2466). General view of temples. Duplicate of Photo 1000 (2467). General view of temples. General view of temples. General view of temples. General view of temples. General view of temples. General view of temples. General view of temple sanctuary tower, standing on a stone platform General view of temple sanctuary tower. General view of temples and tank. General view of temples at Vrindavan. General view of temple shikara, with new brickwork clearly visible. General view of temple shikara. poor quality print. General view of temple shikara. poor quality print. General view of temple shikaras in foreground, with other temples of the group visible in the background. 'List of Ancient Monuments in Bengal' (Calcutta, 1896), pp. 8-9. J. D. Beglar, 'Report of a tour through the Bengal provinces...' (A.S.I. Vol. VIII, Calcutta, 1878), pp. 150-54.Duplicate of Photo 1002 (14). General view of temples of the Ratan Deo, several shikara shrines lying to the south of the Kacheri site and west of the Gujar Deo Temple. General view of temple tank with bathers. General view of temple tower. General view of temple towers. General view of temple with multi-tiered roofs. General view of temple with nandi pavilion in foreground. '...A temple of the Kadvar type having its spire complete and decorated with rows of small chaitya niches. But there has been a good deal of modern additions which have the shape of the body of the shrine...Beside the big temple is a partly ruined small shrine with portion of its sikhara remaining; it is of the same style as that of Sutrapada...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 17). General view of temple with sculptured facade, in ruinous condition, with fallen stones from the tower lying in the foreground: 'The main temple is in a very dilapidated condition now, a great deal more of tower having fallen since his [Cunningham's] time. It is likely, though, that most of the fallen material is still on the spot and might be re-built, but it is hopeless to expect to get this done excepting by experts in temple building, such as we have at present employed at Chitorgarh and Khajaraha. It is work altogether beyond the capacity of our Public Works Department subordinates, who hardly know the top from the bottom of a carved stone from one of these buildings...' ('Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 40).The temple complex is also earlier described in Alexander Cunningham, 'Report of a Tour in the Central Provinces in 1873-74 and 1874-75' (ASI, vol. 9, Calcutta, 1879, pp. 142-150). General view of thatched building raised on piles, with small bandstand in left foreground.[Gelatin silver print (copy print), 152x110mm]. General view of thatched bungalow raised on piles.[89x53mm]. General view of thatched bungalow with verandah. General view of thatched house on hillside. A rather dark print. General view of thatched house on stilts, taken from slightly above. General view of thatched house on wooded hillside. General view of thatched house raised on stilts. 'Pemako' was the 'Promised Land' in search of which the Tibetans encountered by Bailey in Assam had left Tibet (see No Passport to Tibet, pp. 35-36). General view of thatched temple buildings. General view of the (?)Rameshvara Temple. General view of the (alleged) tomb of General Aungier (1677), successor to Sir George Oxinden as President of Surat, a double-storied domed structure with corner turrets. General view of the 6th-century Byzantine church of Haghia Eirene. The church was used as an armoury: see following prints.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x200mm]. General view of the Abhayagiri Dagaba, much overgrown with vegetation. Ruined shrine with guardstones in foreground. Until the early years of the twentieth century, the Abhayagiri and Jetawanarama Dagabas were confused with one another (as Geraldine Mitton notes below). The same confusion appears in print 8. The print has been heavily marked up for cropping. A note on the album page in Geraldine Mitton's hand reads: 'This dagaba, Jetwanaramana, is supposed at some unknown date to have been transposed in name with Abhayagiri. It is now 249 feet in height to top of steeple and if the surmise is correct was once the greatest of all, reaching 405 feet. It is 360 feet in diameter and was built 88 BC. A peculiar feature is found in the stone vases of bowl shape decorated with lotus flowers at the entrance.'[Albumen print, signed 'Lawton' in the negative, 282x218mm]. General view of the Alai Darwaza. General view of the Alguada Reef Lighthouse off Cape Negrais, built 1861-5. Part of Jackson's signature can be made out ('J. Ja...') at the bottom right-hand corner of the print. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.31. Second copy neg at B.20379. General view of the All India War Memorial. General view of the Ambaji Temple. General view of the Amsterdam Gate, built in 1671 and formerly part of the old city walls.[Gelatin silver print, 138x89mm]. General view of the ancient monastery. General view of the arched gateway, with decorative crenallations above. General view of the arches of the unfinished tomb. General view of the Asokan edict pillar mounted atop a tiered pavilion.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 287x209mm]. General view of the Atha Khamba ('Eight Columns), the remaining pillars of a large Hindu temple. Faded print.[97x126mm]. General view of the Atumashi Kyaung or Incomparable Pagoda, rising in five stories of tiered terraces. The building was destroyed by fire in 1892. General view of the Atumashi or 'Incomparable' Kyaung, destroyed by fire in the early 1890s.[Albumen print, 274x199mm]. General view of the aviary of the Merassim Palace, with bird cages in the foreground.[Albumen print, 258x200mm]. General view of the Badrinath Temple. General view of the Baghdad Kiosk or pavilion, built by Sultan Murat IV in 1639 to celebrate his capture of Baghdad and situated in the north-east corner of the Topkapi Palace complex.[Albumen print, signed 'Abdullah Fr�res' in the negative, 250x200mm]. General view of the Baillie Guard Gate, showing the effects of bullet and shot. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 312x236mm]. General view of the Baillie Guard Gate. General view of the Baillie Guard Gate. General view of the bank. General view of the Bara Gumbad from the south-west. General view of the Bibi-Ka-Maqbara, the tomb of the Begum Rabia Daurani in the form of an imitation of the Taj Mahal. General view of the boundary wall, with circular openings overlooking what was to become the formal Indian garden. Reverse of print signed 'Sir E.L. Lutyens R.A. February 1929'. General view of the brick archway. General view of the brick building with corrugated-iron roof under construction. Photograph enclosed in Agent's Letter 519 of 22 July 1907. General view of the brick-built, domed tomb, with a Muslim cemetery in the foreground. The tomb is seen here in a poor state of repair. General view of the brick-built, single-domed mosque. General view of the brick-built church with tower. General view of the brick-built servants' quarters, arranged in a block of four small apartments around a central courtyard. General view of the brick-cuilt imambara. (Ancient Persis Map B1). General view of the bridge. General view of the bridge over the Zaindeh River. General view of the bronze equestrian statue of Hardinge. General view of the building, also known as Kucuksu. The stucco swags and other ornementation were added after the completion of the original building.[Albumen print, 324x260mm]. General view of the building, at the double berth drydock of the Imperial Naval Arsenal, Istanbul.[Printing-out paper, 318x255mm]. General view of the building, constructed on a square plan with six tiered stories.[Gelatin silver print, 163x119mm]. General view of the building, partially obscured by trees in foreground. General view of the building, reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxv, and described pp. 84-87: 'The Mihtar Mahall is one of the show buildings of Bijapur. It stands upon the south side of the road, between the Jami Masjid and the citadel gateway, being nearer the latter. It is a building of ne exceptional design, yet, nevertheless, the clever treatment of its parts and its decorative detail, make it one of the prettiest structures in Bijapur. Though called a mahall, or palace, it is really the gateway to the inner courtyard of a mosque...It is however, a little more than a mere gateway, for it has upper rooms and balconies above the entrance, where men might assemble and spend an hour lounging in the bays of the windows and enjoy the pleasant views of the city...' General view of the building, reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxv, and described pp. 84-87: 'The Mihtar Mahall is one of the show buildings of Bijapur. It stands upon the south side of the road, between the Jami Masjid and the citadel gateway, being nearer the latter. It is a building of ne exceptional design, yet, nevertheless, the clever treatment of its parts and its decorative detail, make it one of the prettiest structures in Bijapur. Though called a mahall, or palace, it is really the gateway to the inner courtyard of a mosque...It is however, a little more than a mere gateway, for it has upper rooms and balconies above the entrance, where men might assemble and spend an hour lounging in the bays of the windows and enjoy the pleasant views of the city...' General view of the building, showing clearly Chisholm's use of polychromatic brickwork. print unsigned, but probably by D'Cruz, and a later print of a photograph made c.1900. General view of the building: 'This is a building situated N.E. of the town of Madura. It now forms the residence of the Judge of the station. It is supposed to have been built at the same time as the palace (circa A.D. 1630) for the purpose of witnessing fights between human beings and wild animals or (as some other accounts say with perhaps more probability when the size of the building is taken into consideration) for a cock-pit. The style of the architecture of the principal room, a circular apartment, with a vaulted roof, surrounded by a raised gallery, exactly resembles that of parts of the Palace...The distinctive features of the building have now been to a great extent lost, owing to the adaptation of the building to an European residence...' For a view of one of the interior rooms, see Photo 212/2 (35). General view of the building. 'The Norbhu Ling-ka is a large enclosed park perhaps half a mile square enclosed by a high and solid stone wall pierced by three gates. Inside are other walled enclosures within which are the gardens and pavilions built and occupied at different times in the past. There are three separate small palaces, one old, and two more modern built by the late Dalai Lama. In addition there is an exquisite little water garden with two Summer houses with lacquer decorated walls in which the Dalai Lama used to sit and meditate, on an island surrounded by water.' (Lhasa Mission Diary, 6 September 1936).[Gelatin silver print, 141x92mm]. General view of the building. General view of the building. General view of the building (see note at print 22). General view of the building from the garden of the two-storey palace, built in European classical style.[Albumen print, 271x193mm]. General view of the building from the gate.[Printing-out paper, 252x198mm]. General view of the building from the roadway. General view of the buildings, built in castle form, with a large group seated in carriages in the foreground. Caption notes read: 'The Palace was built for H.H. the late Chama Rajendra Wodeyar Bahadur during his minority, and largely extended in his lifetime. It is a stone building of two storeys and, when lighted up at night, it presents an especially enchanting appearance. It stands well out on rising ground, in a very extensive park and is surrounded by parterres of flowers well laid out'. Second copy neg at B.6261. Duplicate at Photo 2/9 (5). General view of the buildings, in Indo-Saracenic style and with a statue of Queen Victoria in the foreground. 'This Hall is being built in commemoration of the Queen's Jubilee, and will contain a public library, a museum of the indigenous products of Meywar, and a reading room. This hall will be a very beautiful building, and will add greatly to the beauty of the [Samor] gardens, besides being a source of pleasure and instruction to the public. A statue of the Queen-Empress will be erected in front of the building' (Fateh Lal Metha, Handbook of Meywar (Bombay, 1888)). General view of the buildings, some still swathed in scaffolding.[Printing-out paper, 252x198mm]. General view of the building General view of the Buland Darwaza. General view of the bungalow, composed of two prints joined together. General view of the bungalow, identified as Annat Abbey in a pencilled note beside the print.[Albumen print, 178x105mm]. General view of the bungalow, with Mary Ellis standing in the garden. Arthur Erskine Ellis was the Ellis's young son (born 1902). General view of the bungalow. General view of the bungalow from the driveway. The single storey building has a tiled roof and a verandah supported on double columns running the length of the house. General view of the bungalow from the garden. The house itself is a neat stuccoed building, with makeshift verandahs of thatch and rough trelliswork added. General view of the bungalow seen in prints 45-46.[Printing-out paper, 205x151mm]. General view of the bungalow with Europeans and servants posed in the garden. The following are named: 'Mrs Macnabb, Mrs Byam, Gen & Mrs Bean'. General view of the Bupaya Pagoda, known as the Pumpkin Pagoda from the bulbous shape of the pagoda. Completely destroyed in the earthquake of 1975 and later rebuilt. Second copy negative at B.25606. General view of the burnt-out ruins. Duplicate at Photo 430/2 (86). General view of the burnt-out ruins of the Residency buildings, set into the city walls. Duplicate at Photo 430/3 (2). General view of the capital. General view of the caravanserai. General view of the castle, with youths gathered in foreground. General view of the castle. General view of the Cathedral Church of the Redemption. General view of the central courtyard. General view of the central portion of the Husainabad Imambara complex. General view of the central shrine in the courtyard of the Chennakeshava Temple at Belur. Duplicate (later printing) of Photo 1000 (3104). Another copy at Photo 212/6 (6). General view of the Chalet Kiosk in the grounds of the Yildiz Palace.[Albumen print, 255x201mm]. General view of the Chartered Bank of India, Australia and China.[Gelatin silver print, 129x78mm]. General view of the Chartered Bank of India, Australia and China. General view of the Chauburj, the gateway of the garden of Zebinda Begam. General view of the Chaunsath Khamba (Tomb of Mirza Aziz Kokaltash). General view of the church, built in 1870 to the designs of F.S. Growse.[Albumen print, signed 'Townshend Phot.' in the negative, 276x213mm]. General view of the church, mounted as a carte-de-visite. A modern note on the reverse of the mount reads: 'About 1900. As rebuilt (without tower or spire) after the earthquake of 1897. (East End). The handwriting above [ie the original caption] is that of Miss H. Robinson of Barari, Church Secretary till her death about 1948.' The relationship of this print to the album is unclear. The envelope in which it is contained records that it was presented to the India Office by Rev. Richard S. Chalk (Chaplain of Bhagalpur 1937-51) in 1878. It further notes that Hettie Robinson was the eldest daughter of James Robinson, a civil engineer of Barari. General view of the church, with a water cart in the foreground. Print in very poor condition. Duplicate, in good condition, at Photo 2/3 (121). General view of the church, with its distinctive tall, square tower. General view of the church, with the fortified square visible in the background.[Albumen print, signed 'E.H. phot.' in the negative, 209x160mm]. General view of the church, with the graveyard in the foreground. General view of the church. General view of the church. General view of the church. General view of the church. General view of the church and grounds, with figures posed in the foreground and on the path. Signed 'Mallitte' in bottom right corner. General view of the Churchgate Terminus. General view of the church with four European men standing in the foreground, identified beneath the print as: 'Szezpanski, Capt Davidson, Mr McQueen, Capt Munro'. Possibly, H.C.A. Szczepanski (Assistant Commissioner, Punjab), Captain J.P. Davidson (1st Punjab Infantry), Lieutenant J.W. McQueen (4th Punjab Infantry) and Captain A.A. Munro (Assistant Commissioner, Punjab).With Colonel Keyes' house in the right background.[Albumen print, 211x151mm]. General view of the circular domed temple. Plate 16 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view of the citadel showing walls and a gateway. General view of the city looking towards the Jagdish temple. General view of the City Palace. General view of the City Palace. General view of the City Palace with the Bari Pol and Tripolia gateways. General view of the classical building from Chowringhee Road. General view of the classical fa�ade of the bank.[Gelatin silver print (modern copy), 175x242mm]. General view of the classical range of buildings. General view of the Club, with the tennis court in the foreground, and a European group posed in the centre. A more formal portrait of the group, including W.H. Nightingale, is at Print 51. General view of the club and Frere Hall. Better print at Photo 806/4 (1). General view of the club buildings. General view of the clubhouse from the gardens. General view of the cluster of monastery buildings. General view of the cluster of monks' houses on the hillside: 'The walls are of stone below and sun-dried brick above. Flat roofs of stone and slate covered with earth and the whole supported by wooden beams.' General view of the college designed by Major C. Mant. General view of the column, in dilapidated state, with the Sultan Ahmet Mosque (Blue Mosque) in the background. The Serpentine Column can also be seen in the left background.[Albumen print, 305x372mm]. General view of the column. General view of the columned entrance to the rock-cut temple. General view of the columned hall.[Gelatin silver print, 291x229mm]. General view of the communal living quarters of telegraph staff, a two storey building in Burmese style.[Albumen print, 268x217mm]. General view of the complex of wards and other buildings. General view of the conservatory. Lord Kitchener is seated in the background near the door leading out into the garden. General view of the conservatory of the Merassim Palace.[Albumen print, 256x200mm]. General view of the Convocation Hall, also seen in print 31.[Albumen print, 282x222mm]. General view of the Council House (now Parliament building). Negative marked up for cropping. Original and duplicate negatives only, no print. General view of the country house from the garden. Inscribed in pencil on the reverse: '320 Dilkoosha Palace, Lucknow.' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, 199x126mm]. General view of the covered ablution fountain in the courtyard of the mosque.[Albumen print, 376x310mm]. General view of the covered bridge. Faded bridge. General view of the curving classical fa�ade of the building.[Gelatin silver print (modern copy), 240x190mm]. General view of the Daftar Khana. Copy at Photo 1002 (553). General view of the Daftar Khana or Record Office. Head-on view of the massive doorway in the Buland Darwaza. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 68. General view of the dagaba, the dome covered with trees and vegetation.[139x181mm]. General view of the dagaba or stupa, the dome entirely covered in vegetation, with the finial 'umbrella' emerging from the top.[Albumen print, 282x215mm]. General view of the dak bungalow. General view of the Dalada Maligawa or Tooth Temple. General view of the damaged column, built in 330 AD to inaugurate the new Byzantine capital. The column has been damaged by fire several times, particularly in 1779. The reinforcing iron hoops are the source of the Turkish name for the column, 'Cemberlitas' (Hooped Column). The view of the Atik Ali Pasha Mosque behind the column.[Albumen print, 303x372mm]. General view of the Dandeshvara Temple. The sanctuary tower is surmounted by a wooden roofed platform similar to that seen on the Mrityunjaya Temple at nearby Jageshwar. General view of the Danish castle from the beach. General view of the Danish fort. General view of the Daria Daulat Bagh, Tipu Sultan's summer palace. General view of the Darya Daulat Bagh. General view of the David Sasson Reformatory. General view of the Dehi Gate of the fort.[Gelatin silver print, 286x233mm]. General view of the Delhi Gate. General view of the detached gopura facing the Suvarnamukhi River. General view of the detached open mandapa standing in front of the Mahadeva Temple: 'In front of the temple is a detached porch called a Chawadi or nuptial hall, similar to that in front of the temple at Mudhera in Gujarat; in this tradition records the marriage of a Huna (Hun) prince to a Rajputni bride, for which purpose it is fabled to have been erected; but whether this is so or not, it is one of the finest examples of such detached halls known in the north.' (Fergusson, op. cit., pp. 134-135). General view of the detached open mandapa standing in front of the Mahadeva Temple: 'In front of the temple is a detached porch called a Chawadi or nuptial hall, similar to that in front of the temple at Mudhera in Gujarat; in this tradition records the marriage of a Huna (Hun) prince to a Rajputni bride, for which purpose it is fabled to have been erected; but whether this is so or not, it is one of the finest examples of such detached halls known in the north.' (Fergusson, op. cit., pp. 134-135). General view of the Dhamekh stupa. Duplicate at Photo 10/6 (34). General view of the Dhamekh stupa. Duplicate at Photo 17/3 (34). General view of the Dhamekh stupa. General view of the Dilkusha Palace, looking along the front of the building from the left. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 299x249mm]. General view of the Dilkusha Palace or Heart's Delight. General view of the dining room of the Yildiz Palace. Print in poorish condition, with overall spotting.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x201mm]. General view of the Dispensary. General view of the domed pavilion.[Printing-out paper, 153x218mm]. General view of the domed shrine with surrounding colonnade. General view of the domed tomb, with the hill in the background. General view of the domed tomb: '...I found at Gizze village the beautiful domed tomb of a saint known as 'Pir Boke', dating from Timurid times as shown by fine marble tombstones of 790 A.H. (A.D. 1388) and 807 A.H. (A.D. 1404). The exquisite decoration of the interior with enamelled tile-work and painted stucco (like the carved stone facing outside) seemed doomed to complete destruction...' (Ancient Persis, p. 135, Map B3). General view of the domed tomb.[Gelatin silver print, 203x151mm]. General view of the domed tomb. A somewhat faded print. General view of the doorway, filled in with rubble masonry. An ornate pediment above contains a coat of arms: 'The old churches and other Portuguese buildings within the fort are very interesting but they are fast falling into decay, and little can be done with the majority of them, such hopeless ruins have they become; but a few of the principal ones might be kept in better repair. They are fairly safe from wanton destruction, the whole interior of the fort being held on long lease by a Mr Littlewood, who resides on the spot and takes a great interest in the buildings' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 6).[Printing-out paper, 204x247mm]. General view of the double temple. General view of the drinking fountain, with its marble pavilion in Mughal style, with a cusped arch on each of its four faces and deep overhanging eaves. The fountain was erected in 1898 in memory of David Panioty, Viceroy's Assistant Private Secretary, and originally stood at the junction of Esplanade Row (West) and Government Place, opposite the west gate of Government House, which can be seen in the background. It was moved further to the west (to a spot opposite Old Post Office Street) in the early 1900s. See 'Bengal Past and Present', vol. 1, p. 186. [Albumen print, 244x284mm]. General view of the dzong. General view of the dzong. General view of the dzong or fort. General view of the earlier (c.12th century) of the two Jain towers at Chitor or Chitorgarh (modern Chittaurgarh). Faded print. General view of the early Government House, a two-storey verandahed wooden building, later replced by Hoyne Fox's much larger stone building. This print was probably inserted a little later than the others. Photograph unsigned, but prbably by Klier. General view of the east face of the Panch Mahal from the Pachisi board.[Developing-out paper, 292x241mm]. General view of the east fa�ade great 10th-century Hoysala temple. The tower over the sanctuary seen in the background no longer stands. For another copy of this print, see Photo 1000 (2330).[Albumen print, 348x250mm]. General view of the east fa�ade of the main tower, before restoration. A very similar view, pl. xv in Rajendralala Mitra, Buddha Gaya, the hermitage of Sakya Muni (Calcutta, 1878), is dated 1863.Duplicate of Photo 1002 (49). General view of the east front. General view of the East Pet-leik Pagoda or stupa, showing archaeological work in progress. In prints 53-56, some of the jataka plaques (individually illustrated in prints 64-319) can be seen affixed to the base of the stupa. General view of the edict pillar. General view of the edict pillar or lat of Asoka, in restored form in front of the Fort gateway. General view of the Egyptian obelisk in the Hippodrome.[Albumen print, 261x330mm]. General view of the Eindawya Pagoda. Second copy negative at B.25619. General view of the Ekalinga Temple, photographed from outside the boundary wall. Photograph by Colin Murray for Bourne and Shepherd. General view of the enclosure, with an open-sided thatched roof standing over the Gilbert Scott memorial. Writing to the London 'Times' in early 1869, the pseudonymous 'Pilgrim' had brought public attention to the dilapidated state of the memorial, 'already much injured by exposure to the heat and rains of Bengal.' The writer stated that 'a temporary shed has already been erected over it, but it has clearly become necessary that the tomb should be roofed over with a suitable dome as a permanent shelter.' ('Times', 23 February 1869). The family acted angrily to the implied accusation of neglect (and to a further letter from Lieutenant-Colonel J. Gordon, published on 29 March 1869), Viscount Burke stating that Gordon should have approached him personally if he had wished to know his 'private intentions with regard to the repairs of the tomb'. However, no immediate action appears to have been taken, and it was not until 1873 that Lord Northbrook arranged for the original monument to be moved to St Paul's Cathedral,Calcutta, and a more durable replica placed in its stead at Barrackpore. The monument was again moved in 1913, to its present position in the north portico of St John's Church, Calcutta.[Albumen print, 288x227mm]. General view of the English Church, a thatched wooden building on piles. Letterpress continues: 'An old kyoung converted for the purpose'. Situated in the cantonment area on the east side of Voyle Road, the former kyaung was used as an Anglican Church for a time. General view of the entrance, framed by a horseshoe-shaped arch. General view of the entrance, framed by a horseshoe-shaped arch. General view of the entrance and the fa�ade of the Law School, from the street.[Albumen print, 381x308mm]. General view of the entrance fa�ade of the Kalyana Mandapa, with a throne placed in the shade of the central porch. Albumen print, 375 x 275 mm. General view of the entrance from the right. General view of the entrance gateway to the Taj Mahal. The date in the captioned probably refers to a visit to the Taj or the acquiring of the photograph, rather than its taking.[Albumen print, signed 'Rust' in the negative, 283x241mm]. General view of the entrance of the school, from across the courtyard.[Albumen print, 301x379mm]. General view of the entrance porch in front of the main shrine of the Ramachandra Temple. The parapet of the temple is richly carved with figures. Duplicate (later printing) of Photo 1000 (3138). Another copy at Photo 212/6 (40). General view of the entrance to Cave XVI, the Kailasanatha, at Ellora, with the free-standing pillar or dhwaja-stambha in the foreground. Stereoscopic pair. General view of the entrance to the building from the street. General view of the entrance to the ruined Surya temple. General view of the entrance to the smaller shrine to the east of the main temple, showing steps flanked by stone lions. General view of the Esplanade facade of the Secretariat (completed 1874).[Albumen print, 280x180mm]. General view of the excavation site. General view of the exhibition buildings. Duplicate at Photo 96/1 (17).[Albumen print]. General view of the exterior, from the south.[Albumen print, 371x307mm]. General view of the exterior, showing the same fa�ade seen in print 33, but from a different angle.[Albumen print, 278x216mm]. General view of the exterior. Small faded print. General view of the exterior. Small faded print. General view of the exterior of the building from the road outside. A two-storey brick building. Print stamped 'Enclosure No. 6 to Agent's Finance Letter no. 1526 dated 31.10.1927'. General view of the exterior of the mosque. For illustration and description, see Henry Cousens, Bijapur and its architectural remains (Bombay, 1916), p. 69 and pl. xli. In a footnote Cousens somewhat acidly points out the error here. Another copy of this print at Photo 207 (40). General view of the exterior of the station. Print stamped 'Enclosure No. 6 to Agent's Finance Letter no. 1526 dated 31.10.1927'. General view of the facade. Duplicate at Photo 42 (112). General view of the facade. Small faded print. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade. General view of the facade from the garden. General view of the facade from the grounds. General view of the facade from the grounds. General view of the facade from the opposite bank of the Musi River. General view of the facade of the church with four bearers carrying a jampan in the foreground. General view of the facade of the hotel with staff, carriages and Europeans posed outside, including a young girl with her rocking horse and ayah. General view of the facade of the Residency showing the porte-cochere. General view of the faced. General view of the famous massive reclining Buddha.[Gelatin silver print, 55x80mm]. General view of the Fathabad Dateway of the fort.[Gelatin silver print, 286x237mm]. General view of the fa�ade. General view of the fa�ade. General view of the fa�ade from the right. General view of the fa�ade of the Hindu rock-cut temple. General view of the fa�ade of the mandapa, showing carved columns. General view of the fa�ade of the mandapa. General view of the fa�ade of the multi-storeyed Hindu cave temples. General view of the fa�ade of the Pallava temple, with five openings. General view of the fa�ade of the Pudu Mandapa facing the main temple. Similar to print 1, but this print is in a better state of preservation. Albumen print, 359 x 265 mm. General view of the fa�ade of the school buildings.[Albumen print, 308x376mm]. General view of the fa�ade of the temple, hewn from a single massive boulder. The entrance has three openings, and modern railings have been placed in front of the building. General view of the fa�ade of the three-storey cave temple from the right. Photo 1000/8 (873) is a platinum print from the same negative. General view of the fa�ade of the three-storey temple, from the right. Although unsigned, the photograph is almost certainly by Cousens. It is numbered 006 in the negative, which fits in with the sequence of views by Cousens at Photo 1000/8 (864-927), which have additional serial numbers 001-066. This print, 006, is omitted from the series in Photo 1000, possibly because the view is very similar to Phot 1000/8 (873), serial number 011. General view of the fa�ade of the uncompleted rock-cut temple, showing entrance opening surrounded by preparatory scoring of the surface of the rock in a grid pattern. The base of the lighthouse can be seen on the hill in the background. The same cave temple can also be seen in Photo 1002 (2216). General view of the fenced-off grave. General view of the Fethiye Mosque, built as the Church of Pammakaristos, in the Carsamba District of Istanbul.[Albumen print, 328x261mm]. General view of the five man-made caves, possibly Buddhist in origin. General view of the five-storied gopura. General view of the fort. Another copy at Photo 2/4 (60). General view of the fort. For another copy of this print, see photo 430/53 (4).[Platinum print, 317x186mm]. General view of the fort. General view of the fort. General view of the fort. General view of the fort. General view of the fort. General view of the fort. General view of the Fort. General view of the fort. General view of the fort. General view of the Fort entrance. Small faded print. General view of the fort entrance with armed sowars lined up outside. The gopuram of the Padmanabha Temple is visible through the arch. General view of the fort from the approach raod. General view of the fort from the beach, slightly distant. General view of the fort known as the Purana Qila. General view of the fort of the Khan of Kalat, with houses of the town in the foreground.[Sepia-toned print, 338x245mm]. General view of the fort or dzong. Situated near the north-west shore of Yamdok Tso. Spelled Peti Jong in Younghusband's India and Tibet and Piahte Jong in the map in Papers relating to Tibet Cd. 1920 (London, 1905). General view of the fort or dzong from the plain below. General view of the fort walls and moat. Possibly by Nicholas Bros. General view of the four panels seen in prints 2443-2446. General view of the four storey building. Faded print. General view of the Frere Hall. Duplicate of Photo 481/4 (3). General view of the front and side elevations of the Mehtar Mahal. General view of the front fa�ade of the building, which consists of a basement storey and two upper stories in a pyramidal form. General view of the front fa�ade of the palace, an imposing colonial mansion in classical style, with a tall verandah supported on coupled columns and a wide flight of steps sweeping down from the bow-fronted central section. General view of the front of the house seen in Print 28. General view of the front of the single storey building.[Gelatin silver print, 272x157mm]. General view of the full-length standing statue, described in A. Cunningham, 'Report of a tour in the Central Provinces in 1873-74 and 1874-75' (A.S.I. vol IX, Calcutta, 1879), pl. vi, and described p. 31: 'The pedestal of the enshrined statue occupies the whole breadth of the sanctum. The figure of the goddess is 3� feet high, and she is surrounded by a number of small figures, of which there are 5 above, 7 to the right, 7 to the left, and 4 below. Her four arms have been broken off, so that she now holds no symbols by which she could be recognised...' General view of the full-length standing statue, described in A. Cunningham, Report of a tour in the Central Provinces in 1873-74 and 1874-75 (A.S.I. vol IX, Calcutta, 1879), pl. vi, and described p. 31: 'The pedestal of the enshrined statue occupies the whole breadth of the sanctum. The figure of the goddess is 3� feet high, and she is surrounded by a number of small figures, of which there are 5 above, 7 to the right, 7 to the left, and 4 below. Her four arms have been broken off, so that she now holds no symbols by which she could be recognised...' General view of the Galta temples. General view of the Gandhamadana Temple, attached to the west side of the outer enclosure of the Ramalingeshvara Temple. Duplicate (later printing) of Photo 1000 (3011). Another copy at Photo 212/3 (32). General view of the Ganesha Ratha. Duplicate (later printing) of Photo 1000 (3077). Another copy at Photo 212/5 (23). General view of the garden and facade of a bungalow. General view of the garden from the south-east corner. General view of the garden of the Imperial School with students, in uniforms. View of the students and the school building, from the street.[Albumen print, 305x376mm]. General view of the gate. General view of the gate and bridge. General view of the gate from inside the palace courtyard. A number of elephants are tethered near the low wall in the left foreground across which elephants fights were staged as entertainment. General view of the gateway, with soldiers on guard duty in front. Print in poorish condition, with overall spotting.[Albumen print, 318x253mm]. General view of the gateway.[Albumen print, 278x214mm]. General view of the gateway. A faded print. General view of the gateway. Duplicate at Photo 2/9 (32). General view of the gateway. General view of the gateway. General view of the gateway. General view of the gateway. General view of the gateway and clocktower. General view of the gateway at the north-west corner corner of the Bala Hissar, known as the City Gateway or Darwaza-i-Naghar Khana and situated at the north-west corner of the Bala Hissar. Other copies at Photo 98 (13) and Photo 449/1 (25). General view of the gateway leading to the Mehtar Mosque. General view of the ghat, with people drawing water. General view of the Golconda Tombs. General view of the Gol Gumbaz, built 1659. Caption continues, '...built on a terrace 200 yards square. Height of tomb externally 198 ft, internally 175. Diameter of dome 124 feet, 4 minarets of 8 storeys, 12 ft broad entered by winding staircases terminating in cupolas'. Print 1 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860). General view of the Gol Gumbaz, built 1659. General view of the Gol Gumbaz.[Albumen print, signed 'Dwyer' in the negative, 189x228mm]. General view of the gopura. General view of the gopura General view of the gothic Government College, completed in 1877. General view of the gothic screen surrounding the memorial well with a man standing on the steps.[Albumen print, 216x166mm]. General view of the gothic-style church. Caption note continues: 'Known as the English Church till my chaplaincy (1937-44; 1946-51). Consecrated by Bp. Daniel Wilson about 1846. Damaged by earthquake about 1897 and tower destroyed. Hindi services held in addition to English from about 1920. (Note the three tubular 'bells').' General view of the Governor's residence from the driveway. General view of the grandstand. General view of the grave, standing in a rather overgrown site at Barrackpore. Owing the neglect and the effects of the Bengal climate, the original monument was removed to St Paul's Cathedral, Calcutta in 1873 and later still to its present location in the porch of St John's Church, Calcutta. The grave seen here is the replica built on the original site at Barrackpore.[Silver printing-out paper, 290x224mm]. General view of the grave before the Gilbert Scott design was added. As seen here it is a plain whitewashed brick rectangular platform. A number of wreaths have been placed on the grave. There are two notes in Lady Bayley's hand: 'The grave remained in this state, covered daily with beautiful flowers, till the marble tomb arrived from England' and 'The grave was consecrated by Bishop Cotton in /62.'[Albumen print, 294x238mm]. General view of the grave soon after the monument by Gilbert Scott had been put in place. The plot is enclosed by a low parapet with wrought-iron railings with a design of the intertwined letters 'C.C.' The River Hugli can be seen in the right background. Note in Lady Bayley's hand: 'The iron railing consists of a design of her initials 'C.C.' entwined.'[Albumen print, oval vignetted image, 197x148mm]. General view of the Great Audience Hall. See notes at Print 59. General view of the guesthouse, a substantial two-storey building with porte-coch�re, from the lawn. General view of the gun factory, at the Naval Arsenal, from the water.[Printing-out paper, 307x253mm]. General view of the Gupta Temple known as Temple 17. Reproduced as a lithograph in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pl. xx. General view of the gurudwara, with tank in foreground. General view of the Gwalior Monument, designed by Colonel H. Goodwyn of the Bengal Engineers and erected by the Governor-General of India in 1847. General view of the hall, with the statue of Queen Victoria in front.[Printing-out paper, 282x207mm]. General view of the Haw or palace of the Swbwa of Keng Tung, with a pencilled note indicating the entrance used only by the Sawbwa and the Royal Theatre (on right). A faded print.[Printing-out paper, 152x107mm]. General view of the Hayat Bakshi Begum Mosque. 'This magnificent structure is within a few feet of the western extremity of the Queen Mother's Tomb, forming a right angle with the northern side of the latter. It is the largest and most perfect of the hundreds of mosques that are scattered through the 'City of the Dead'. Its minarets are 150 feet high. Each minaret contains a spiral staircase, by means of ehich you can ascend to the top. The photograph better portrays the style and beauty of the architecture, than any description that the artist could give of it.'[Albumen print, 244x198mm]. General view of the heavily-furnished room. Pencilled notes on the mount supply the following information on various aspects of the furniture: 'Cupboard after Allahi-Darwaza, Delhi - [with designs in form of] flowering mangoe tree and mangoe tree with fruits, in silver gilt - sideboard, upper part Teen Darwaza lower part Kankaria Tank, both Ahmadabad - silver 'handa' = cooking pot transformed inyto soupi�re.' General view of the heavily-furnished room also seen in prints 4-5.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. General view of the heavily-panelled room. General view of the heavily-timbered dining room, seen here without a table in place. For a later view from a similar viewpoint, see Photo 10/22 (10). General view of the High Court. General view of the hill, with pencilled annotations marking the stairway and 'the throne'. Duplicate at Photo 1008/7 (1516).[203x153mm]. General view of the hill, with the restored entrance in the foreground. With pencilled annotations in sky area of print. Duplicate at Photo 1008/7 (1508).[199x153mm]. General view of the hill fort from below. General view of the hindola or swing, an undecorated construction of two stone uprights supporting a double lintel above. General view of the Hiran Minar. General view of the Hiran Minar at Fatehpur Sikri. General view of the hospital with a man standing in the foreground. General view of the hotel, with rickshaw pullers and the hotel carriage in the foreground. Print unsigned, but probably by Skeen & Co. General view of the house, a brick bungalow with colonnaded verandah. Duplicate at Photo 1008/9 (2796).[203x152mm]. General view of the house, partially obscured by thatched hut and trees in the foreground. Sonargaon was a noted producer of the celebrated Dhakka muslims and for the purchase of this the Company established a factory at Painam. The building is briefly described in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), p. 91: 'The old Kampani ka kot'hi is a quadrangular two-storied, native, brick building, with an arcaded courtyard inside. It was a hired house, and is now occupied by Hindu karmakars, or smiths..' India Museum no. 814. Duplicate of Photo 1000 (2734). General view of the house, with Edward Kay Robinson, his wife Florence (seated in pony trap) and the syce grouped near the porte-coch�re. General view of the house, with note beneath print in Lady Bayley's hand: 'Lady Canning's house before her marriage - it became Lady Waterford's property on the death of her mother Lady Stuart de Rothesay'. [235x176mm]. General view of the house. General view of the house. General view of the house also seen in print 24. General view of the house from the graden, with a stand of oak trees running the length of the garden at the right. The house was used as a country cottage by Sir Hugh Rose, Commander-in-Chief, India, 1860-5. For a history of the building, see E.J. Buck, Simla Past and Present (2nd edition, Bombay, 1925). See also print 120. General view of the house with the Nightingale family outside. General view of the Husainabad Imambara. General view of the Ibrahim Rauza. General view of the idgah. The minaret and part of the wall on the right-hand side in this photograph have collapsed. 'The north and south extremities of the wall are a mass of recently fallen ruins. The remaining central portion has a number of dangerous cracks, and consequently these walls are also unstable...The building is beyond repair in its present condition, and the only thing possible is to have it taken down and rebuilt as much as possible in its original design. For this purpose, photographs of all the sides have been taken and the petitioners promise to rebuild it. As it present, it is in a dangerous condition as any other portion may come down at any moment. The public should be prevented from going too near it' (Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1910-1911 (Madras, 1911), p. 26). General view of the Indo-Saracenic Law Courts, built 1888-92. General view of the inscribed pillar. General view of the inside of the gateway.. General view of the interior. General view of the interior from floor level.[Albumen print, 376x303mm]. General view of the interior from the gallery of the Arab Mosque, formerly the Church of St Paul and Saint Dominic.[Albumen print, 375x308mm]. General view of the interior of the newly-completed post office.[Gelatin silver print, 287x357mm]. General view of the Iron Pillar at the Qutb. Print in poor condition, faded and with some folds and tears.[Albumen print, 173x245mm]. General view of the island. General view of the island palace with a river steamer in the foreground. General view of the Jahangir Mandir. General view of the Jain temple. General view of the Jain temple complex, called 'Jattapa Nayakana Chandranatheshvara Basti' in the caption, with a tall lamp column (dhvajastambha) in the foreground. Described in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 136: '...situated in a field to the north of the town, and is composed of two blocks of buildings joined together by an intervening porch, the whole running east and west and facing east. The main block, that on the west, is on two stories...' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1338). General view of the Jain temple complex, called Jattapa Nayakana Chandranatheshvara Basti in the caption, with a tall lamp column (dhvajastambha) in the foreground. Described in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), p. 136: '...situated in a field to the north of the town, and is composed of two blocks of buildings joined together by an intervening porch, the whole running east and west and facing east. The main block, that on the west, is on two stories...' General view of the Jain tower. General view of the Jain Tower of Victory or Jaya Stambh. General view of the Jama Masjid. General view of the Jami Masjid, situated near the Delhi Gate of the fort. General view of the Jami Masjid. General view of the Jaya Stambh. Photograph taken by Colin Murray for Bourne & Shepherd; it appears as plate 21 in James Burgess, 'Photographs of architecture and scenery in Gujarat and Rajputana' (Bourne & Shepherd, Calcutta, Bombay and Simla, 1874): see Photo 970 (21).[Albumen print, 231x282mm]. General view of the Jetawanarama Dagaba (here confused with the Abhayagiri: see note at print 7), the print heavily marked up in white for cropping. The caption note continues: '...is the largest at Anaradhapura, 460 feet high, and about half a mile round, built of bricks but now overgrown with brushwood and small jungle. It is supposed to contain great treasures, but fear of evil spirits prevents natives from disturbing the tomb. Europeans of course would not do so.' Geraldine Mitton has crossed this caption out with the remark, 'All bunkum', and supplied an alternative note: 'This shows Abhayagiri one of the largest dagabas existing, as it was before pains had been taken to crop the growth and rebuild the steeple or tee. This place is the headquarters of one of the few communities of Buddhist monks who do not belong to the Siamese or Burmese order of Buddhism in Ceylon. The present height of the drum is 230 ft and the diameter 325 feet.'[Albumen print, 283x217mm]. General view of the Jhanjiri or Malika Jahan's mosque.. General view of the Jor Gumbaz tombs, or 'Two Sisters'. General view of the K.P.M. offices.[Gelatin silver print, 138x88mm]. General view of the Kailasanatha Temple. General view of the Kariye Mosque, formerly the Church of St Saviour in Chora, in the Fener District of Istanbul.[Albumen print, 331x261mm]. General view of the Kashmiri temple. General view of the Kathale Basti, a rectangular stone building, largely undecorated apart from pilasters, with the doorway in the shorter side. General view of the Khas Mahal from the Anguri Bagh, with the Mussaman Burj (or Jessamine Burj) in the left background. General view of the kiosk, a rustic cottage-like building with an ornamental pool in the garden in front.[Albumen print, 258x199mm]. General view of the Kirthi Stambh or Tower of Fame at Chittaurgarh. Photograph by Colin Murray for Bourne and Shepherd. General view of the kyaung. Photograph probably Beato. General view of the kyaung or monastery building, with elaborately carved wooden decorative work. General view of the Lahore Gate, with Afghan group seated at roadside in foreground. Duplicate (in better condition) at Photo 197 (35). General view of the Lahore Gate. General view of the lake palace at Udaipur. General view of the large, single-celled temple, with unfinished tower. Described in detail in J.D. Beglar, Report of a tour through the Bengal Provinces...in 1872-73 (A.S.I. VIII, Calcutta, 1878), p. 139. Its position in the temple complex can be seen in the plan at pl. ix, where it is listed as Temple D. General view of the large chorten or stupa, standing on a tiered platform, with a smaller chorten in front. Gungthang is about 15 miles east of Lhasa. Reproduced in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 89. General view of the largest Jain temple in Lakkundi. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxi, and described pp. 77-79. General view of the largest Jain temple in Lakkundi. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxi, and described pp. 77-79. General view of the large thatch and bamboo bungalow, raised on piles. General view of the Lieutenant-Governor of Bengal's official residence. General view of the lighthouse, ancillary buildings, breakwater and small harbour. For an earlier view see Photo 447/7 (3). General view of the lighthouse, from inland looking seawards. Typescript copy of a note from the Superintendent of Lighthouses, Karachi District, pasted to reverse of print, reads: 'This is the most westerly lighthouse in India and is situated in latitude 24-29'-40'' North, longitude 66-39'-55'' East. It was built by the Public Works Department of the Government of Bombay, being completed in 1914. The light was first exhibited on June 1st 1914. The total cost was Rs.1,57,894 and the candle power is 777,000. The height of the focal plane is 162.2' above the H.W. [high water] mark. Visibility 19 miles. The light is of great importance to vessels making for Karachi and is of great service to country craft. The coast in the vicinity is very rocky and dangerous'. General view of the lighthouse, presumably on Great Coco Island. General view of the lighthouse, surrounded by palms. Oval vignette. General view of the lighthouse. The roped-off area to the right of the lighthouse probably indicates the start of building work on the new landing place. See Photo 103 (17) for a view of the lighthouse with the new landing place constructed. General view of the lighthouse. Typescript note on reverse of print reads: 'Muttum lighthouse is an important landfall light, lying in the path of all steamers plying between Colombo and the ports on the west coast of India. It is a solid granite octagonal tower, 72 feet high, built in 1882. It warns mariners of the several rocky islets and the submerged Crocodile Reef close by'. The is almost at the southern tip of India, some 30 miles west of Cape Comorin. General view of the lighthouse and the small stone shurch beside it. General view of the Linga Shrine. The photograph shows two of the four doorways into the shrine, each flanked by a pair of massive guardian figures. General view of the linked range of buildingsof the Governor's residence at Guindy, Madras. Another copy at Photo 447/2 (67). General view of the lion capital. General view of the lion sculpture. General view of the Lion Throne in the Great Audience Hall in the Palace at Mandalay. A note on the mount gives the dimensions ('Height of Throne from floor to top 30 feet. Width to outside of horns 21 feet') while another note identifies part of the throne in poor condition. The photo graphs were evidently supplied to the Viceroy for conservation or restoration purposes. An accompanying letter from the Indian Museum, Calcutta, dated 25th March 1904, encloses sketches of part of the throne balustradeand mentions 'woodwork to be sent to Government', presumably part of the repairs to the throne. General view of the little stone church near the foreshore. Carbon print. General view of the lounge. The Viceroy's portrait is of Lord Willingdon, thus dating this view (and preceding photographs of the Club) to the period 1931-6. General view of the lower portion of the gateway. General view of the Madras Club from the driveway. General view of the magazine, built into rock face. General view of the Mahabodhi Pagoda at Pagan. With letterpress note: 'A peculiar specimen of Pugahm architecture rather Hindoo-like in style. The spire and walls outside are crowded with figures of Gautama in niches. In the enclosure in front are some fifty ancient inscribed stones. It dates from about 1200 A.D.' General view of the Mahabodhi Temple and surrounding area. General view of the Mahakot Gateway of the fort.[Gelatin silver print, 286x233mm]. General view of the Maharaja's residence at Gangtok. General view of the Mahasati. General view of the main (west) fa�ade of the High Court from Rotten Row. General view of the main building. General view of the main building and flagstaff tower. General view of the main building at the Military Seminary. General view of the main entrance. General view of the main entrance gateway to the Fort. General view of the main facade, photographed from the upper storey of a neighbouring building. The Shwe Dagon Pagoda can be seen in the distance on the skyline. General view of the main facade. Duplicate at Photo 10/23 (29). General view of the main facade and entrance flanked by two square towers. General view of the main facade of La Martini�re or Constantia, taken from beside the lake, with Parker's column in the foreground.Size: 496 (w) x 396 (h) mm. General view of the main facade of the classically designed two storey building with a pediment set on the projecting central block. General view of the main facade of the Dilkusha or Heart's Delight, a hunting box built by Saadat Ali Khan in classical European style with an Ionic prostyle portico flanked by an octagonal and a square tower on either side. The building was the scene of fierce fighting during the Mutiny and Sir Henry Havelock died there on 27 November 1857. The building is now in ruins. General view of the main facade of the Faluknama Palace, built in classical style on a hill overlooking the city. Constructed in 1872 as the private residence of a prominent businessman, and later purchased by the Nizam, it was little used except as a guest house for visiting dignitaries. General view of the main facade of the hospital, a building in European style with Indian details and elements. Date of construction 1906, inscribed with the State coat of arms in the tympanum of the pediment. General view of the main fa�ade. General view of the main fa�ade of the building.[Printing-out paper, 259x310mm]. General view of the main fa�ade of the Falaknuma Palace. General view of the main fa�ade of the so-called Elephant Stables. General view of the main residence of the British Mission at Lhasa. General view of the main residency building. From north-west. General view of the mandapa. Duplicate (later printing) of Photo 1000 (3163). Another copy at Photo 212/7 (25). General view of the mandapa of the Vitthala Temple, showing large masonry pillars supporting the central portion of the structure. General view of the market, built in Indo-Saracenic style, the main entrance dominated by twin shikras. General view of the market buildings from New Market Road. Caption notes read: 'The photo shows the two faces of the Market with the Dufferin Fountain on the left. All articles of daily consumption as food are bended here. The building is fireproof, having arched roofs.' General view of the Masjid-i-Bala Chauk. Duplicate at Photo 430/2 (66). General view of the massive, cracked and ruinous pagoda (allegedly the largest mass of brickwork in the world). The Irrawaddy can be seen in the background. Letterpress continues: 'Begun but never completed by King Mendaraggee about the end of last century. It is about 120 feet high, and according to a miniature model of its design to be seen below on the river bank, it would have been, finished, about 480 feet high'. General view of the massive pink granite throne. With an enlarged copy of the same print inserted.[Gelatin silver print, 80x55mm and 123x82mm] General view of the massive rock-cut statue of a Buddhist king, sometimes identified as a statue of Parakrama Bahu.[Gelatin silver print, 55x80mm]. General view of the massive seated Buddha image in the Taung-min-gyi Pagoda, on the western shore of the Thaungthaman Lake at Amarapura, surrounded by small pagodas. With letterpress note: 'Its height is about 37 and a half feet above the throne'.Duplicate of Photo 61/1 (46). General view of the massive two storey structure. Various uses have been attributed to the building, including mosque, observatory, shrine and hunting lodge. General view of the Mehtar Mahal.[Albumen print, signed 'J. Dwyer' in the negative, 182x241mm]. General view of the Mehtar Mahal. Print 15 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860). General view of the memorial fountain to Maharaja Chamrajendra Wadiyar, with the Lansdowne Bazaars in the background. General view of the memorial in the Residency grounds. General view of the Merchant Marine Academy at Halki, from street. [Printing-out paper, 300x247mm]. General view of the mess buildings, a two-storey ashlar construction, with three crenellated towers along the main fa�ade. Carbon print. General view of the mess-house with Sikhs standing on the left. General view of the mihrab? General view of the Mihrimah or Iskele Mosque with the fountain pavilion in the foreground.[Albumen print, 324x261mm]. General view of the Mimalaung-kyaung Temple. General view of the minar. General view of the minar and cupola. General view of the Minar-i-Chakri. See note at another copy of this print at Photo 197 (20). General view of the monastery, standing on a small hill and partially obscured by trees. The outer wall of the building, in the foreground of the photograph, is in a poor state of repair. Letterpress continues: 'This is amongst a great number of kyoungs occupying a large extent of ground outside the N.E. corner of the city'. General view of the monastery.[Gelatin silver print, 204x151mm]. General view of the monastery. Letterpress continues: 'This is like No. 83, being of carved wood gilt and inlaid with mirror. Both of them are under the same Bishop, who resides alternate weeks in each'. General view of the monastery building, partially obscured by foreground foliage. Scott records taking this picture in his diary for 25 March 1890: 'Did some rather good plates last night. Went down and photographed the Haw and the town Monastery. Deuce of a crowd on Palace bazar day...Photographed Sow Mong Khats and took a shot at the crowd' (OIOC Mss Eur F278/6 f. 46).[Albumen print, 238x187mm]. General view of the monastery in which Thibaw was educated and which after the annexation was turned into a Church of England church for the British. General view of the monolithic rock-cut temple. General view of the monument, framed by trees. General view of the moonstone at the foot of the steps, with the makara wings of the steps in right foreground. The caption notes continues: 'The design is that of the sacred lotus flower, the outer leaves being decorated with images of the elephant, the horse, the lion (or singha)and the zebu bull.' An additional note in Geraldine Mitton's hand reads: 'This shows one of the more ordinary moonstones in situ, where there are only nine animals, but to make up, a superabundant flock of geese overlapping each other. The horses on this stone are better done than most and the bulls also excellent.'[Albumen print, 284x210mm]. General view of the mosque, a poor quality print. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 41-43. General view of the mosque, a poor quality print. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 41-43. General view of the mosque, a square building with a single, central dome. Mentioned in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), p. 92: 'In the division called Goaldih, which consists of dense and impenetrable jungle traversed by a few foot-paths, are two mosques, The first is called Abdul Hamid's Masjid. It is in good preservation, being a comparatively modern structure. Its 'kitabah' bears the date A.H. 1116 (A.D. 1705).' India Museum no. 817. Duplicate of Photo 1000 (2737). General view of the mosque, constructed from Hindu temple materials. 'The Maipuri Masjid is situated between Veraval and Pattan...It stands close beside the large whitewashed dargah of Mangaluri Shah on its east side...It has within it one of those richly wrought domical ceilings, a finer one even than that in the porch of the Jami Masjid. Two pillars in the building have names inscribed upon them in Devanagari, but they are upside down, and were no doubt inscribed when they were lying prone upon the ground by visitors to Pattan. This fact shows that the mosque was built of material which was, and probably had been for some time previous, in a ruinous state, and that the temple had not been desecrated and converted into a mosque at one and the same time. As the mihrab and other parts have been designed in keeping with the Hindu details of the pillars and ceiling, and the mosque is well and carefully built, it is evident that the builders had come to stay and carried out their work deliberately and carefully...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 12). General view of the mosque, in very ruinous state and largely covered by vegetation. Described in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), p. 92: 'About a hundred yards to the south [of Abdul Hamid's Mosque] is the oldest mosque in Sonargaon. The residents call it the purana, or old, Goaldih mosque. Its kitabah had fallen out, but had been carefully preserved in the interior. On this stone is inscribed the name of 'Ala-uddin Husain Shah, A.H. 925 (A.D. 1519)'. Duplicate copy at print 2738. India Museum no. 1569. Duplicate of Photo 1000 (3326). General view of the mosque, in very ruinous state and largely covered by vegetation. Described in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), p. 92: 'About a hundred yards to the south [of Abdul Hamid's Mosque] is the oldest mosque in Sonargaon. The residents call it the purana, or old, Goaldih mosque. Its kitabah had fallen out, but had been carefully preserved in the interior. On this stone is inscribed the name of 'Ala-uddin Husain Shah, A.H. 925 (A.D. 1519)'. India Museum no. 818. Duplicate of Photo 1000 (2738) and (3326). General view of the mosque, partially obscured by houses in foreground.[Albumen print, 323x260mm]. General view of the mosque, reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxvi (b), and described p. 87. General view of the mosque, reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxii (b) and described p. 87: 'It is almost a replica, on a smaller scale, of the mosque of the Ibrahim Rauza. Being smaller, it has three arches, instead of five, in its fa�ade; but, in other respects, the various features, and even the ornamental detail, are the same. It has been much damaged, and the fallen minar, at the south end of the fa�ade, broke away much of the cornice when it fell. The back minar at the opposite corner of the building has also gone, together with the two little chhatris or kiosks over the central piers of the fa�ade; and the miniature minars at the corners of the upper terrace, around the base of the dome, have been destroyed...' This mosque is numbered 311 in the plan at the end of the volume. General view of the mosque, reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxvi (b), and described p. 87. General view of the mosque, reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxii (b) and described p. 87: 'It is almost a replica, on a smaller scale, of the mosque of the Ibrahim Rauza. Being smaller, it has three arches, instead of five, in its fa�ade; but, in other respects, the various features, and even the ornamental detail, are the same. It has been much damaged, and the fallen minar, at the south end of the fa�ade, broke away much of the cornice when it fell. The back minar at the opposite corner of the building has also gone, together with the two little chhatris or kiosks over the central piers of the fa�ade; and the miniature minars at the corners of the upper terrace, around the base of the dome, have been destroyed...' This mosque is numbered 311 in the plan at the end of the volume. General view of the mosque, showing evidence of bombardment. Part of the caption may be missing, and last section should perhaps give the sense of '...in the foreground where the ground appears now to be levelled'. Duplicate of Photo 193 (6). General view of the mosque, the screen of the east fa�ade partly obscured by the perimeter wall in the foreground. '...The great massive Jami Masjid, a building now deserted and neglected.The remains of some very good tile decoration, and its historical associations make the building well worthy of conservation...All over the mosque, and as high as could be conveniently reached, the tile work has been sadly damaged by visitors trying to dig out separate tiles from the walls...' ('Progress Report of the Archaeological Survey of Western India. For the months September 1895 to April 1896', p. 8). General view of the mosque, with the ablution tanks seen in print 13 in the left foreground.[Albumen print, 325x261mm]. General view of the mosque.[Albumen print, 382x305mm]. General view of the mosque. General view of the mosque. General view of the mosque. General view of the mosque. General view of the mosque (the north face) of the Sultan Ahmet Mosque from the Hippodrome, with Egyptian obelisk in the left foreground and the Serpentine Column centre foreground.[Albumen print, 375x308mm]. General view of the mosque attached to the tomb, and situated to the west on the west side of the terrace. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxxvi (a), and described pp. 105-106: '...for many years, used as a travellers' bungalow...It is a well-proportioned and elegant building, with slender minarets and rich deep cornice, the latter, however, deing much damaged. Owing to its use as a travellers' bungalow, with people coming and going, a great deal of the cornice was dismantled, and the rest was supported with wooden framing as a temporary measure. The whole, though appearing intact, and in good condition from a distance, was, like that of the mausoleum itself, in a very rickety and unsafe condition...' General view of the mosque attached to the tomb, and situated to the west on the west side of the terrace. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxxvi (a), and described pp. 105-106: '...for many years, used as a travellers' bungalow...It is a well-proportioned and elegant building, with slender minarets and rich deep cornice, the latter, however, deing much damaged. Owing to its use as a travellers' bungalow, with people coming and going, a great deal of the cornice was dismantled, and the rest was supported with wooden framing as a temporary measure. The whole, though appearing intact, and in good condition from a distance, was, like that of the mausoleum itself, in a very rickety and unsafe condition...' General view of the mosque built in 1634 by Shah Jahan's governor. General view of the mosque connected to the tomb of Haidar Ali and Tipu Sultan. Sky area has some off-setting from a document of some sort resting against the print in the past. For another copy in better condition, see Photo 1000 (2281a).[Albumen print, 284x240mm]. General view of the mosque from the Hippodrome.[Albumen print, 327x261mm]. General view of the mosque from the south-east, looking towards the east fa�ade, with the perimeter wall in the foreground: '...a neat little mosque, now abandoned, outside the town walls on the north-east...It is partly built of old temple materials [for instance, the two central columns], but the walling and portion of the fa�ade are pure Muhammadan work well executed. Two ornamental arches, flanking the fa�ade, are particularly well designed and executed...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 16). General view of the mosque from the water.[Albumen print, 302x365mm]. General view of the Mosque of Kadhimain, incorrectly captioned in album. General view of the Mosque of Sultan Selim I.[Albumen print, 324x260mm]. General view of the Mosque of the Lady. General view of the much-damaged gopura. General view of the much-dilapidated dagaba from the south, showing steps, the three circles of standing pillars and the stupa beyond.[Albumen print, signed 'Lawton' in the negative, 282x217mm]. General view of the multi-storied platform. General view of the museum built in 1880. General view of the Mussaman Burj. General view of the Mustafa Pasha Kiosk in the Topkapi Palace to the south of the Baghdad Kiosk.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. General view of the Nand Bhavan pavilion, with two tiers of deep projecting eaves above the arcade of arches. Built around 1760 on the north side of the palace complex. Duplicate at Photo 430/27 (31). General view of the Naubat or Naqqar Khana. General view of the Naubat or Naqqar Khana. General view of the Naulakha pavilion in the fort. General view of the newly-built post office (constructed 1869-72) on Churchgate Street, now known as the Telegraph Office.[Albumen print, signed 'Bourne & Shepherd 2231F' in the negative, 283x220mm]. General view of the newly-completed building, designed by J. Begg, and built 1904-13.[Gelatin silver print, 363x267mm]. General view of the newly-completed building. General view of the newly-completed buildings, with scaffolding still visible on the central portion of the roof. Built in Venetian Gothic style to the design of Sir Henry St Clair Wilkins, it was completed in 1872. General view of the new Makarpura Palace. General view of the new Railway Institute.[Silver printing-out paper]. General view of the Nirvana Stupa, with temple partly visible beyond, and group of smaller votive stupas in foreground. General view of the Nirvana Stupa. General view of the Nizam Shahi Gateway of the fort.[Gelatin silver print, 286x231mm]. General view of the north face from the main entrance road, with Queen Victoria's statue in the foreground. Enlarged duplicate of print 330.[Gelatin silver print, 255x195mm]. General view of the north front. General view of the oactagonal building. Duplicate at Photo 430/2 (65). General view of the obelisk, brought from Luxot to Constantinople by the Emperor Constantine.[Albumen print, 302x382mm]. General view of the obelisk. Caption notes read: 'This monument was erected by the officers of His Majesty's 12th and 74th Regiments to the memory of the undermentioned officers, who were killed or died during the Siege of Seringapatam: H.M. 12th Regiment Foot: Leit. Geo. Nixon, killed on the 5th April 1799; Lieut. Thos. Falla, killed on the 6th Aptil 1799; Major James Allen, died on the 22nd April 1799; Lieut. Wal. Gahan, died on the 7th May 1799. H.M. 74th Foot: Lieut. Lewis Irwin, killed on the 26th April, 1799; Lieut. James Prendergast, killed on the 4th May 1799; Lieut. Vesey Hill, killed on the 4th May 1799; Lieut. Henry Shaw, killed on the 4th May 1799.' Duplicate at Photo 2/9 (31). General view of the obelisk. General view of the Ochterlony Monument on the Miadan. General view of the offices, a stone-built bungalow. General view of the old Gond fortress, perched on a massive boulder.[Gelatin printing-out paper, 238x183mm]. General view of the only gopura completed in the late 19th century. General view of the only gopura completed in the late 19th century. General view of the ornamented gateway. General view of the ornate fa�ade, with arched doorway flanked by pairs of fluted Corinthian columns and pedimented window above. The figure standing in the foreground is probably Henry Cousens.[Printing-out paper, 234x288mm]. General view of the ornate interior of the dining hall, with tables set for a meal.[Printing-out paper, 252x198mm]. General view of the ornately carved teak buildings of Queen Sup' Ayalat's kyaung or monastery in B Road. Photograph probably by Beato: see duplicate at Photo 296/1 (31). General view of the ornately decorated vimana. General view of the ornate pavilion, the fountain of Ahmed III, in Istanbul.[Albumen print, 325x261mm]. General view of the Orphans' School.[Albumen print, 245x193mm]. General view of the outer gateway at the northern end of Shah Alam. General view of the outermost gopura on the southern side of the temple complex. Only the base of the structure has been completed, to just above the lintel of the entrance arch. Photograph attributed to H.H. Cole in Bloch's list, but almost certainly one of the series of views taken for Cole by Nicholas & Co. General view of the outermost gopura on the southern side of the temple complex. Only the base of the structure has been completed, to just above the lintel of the entrance arch. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly one of the series of views taken for Cole by Nicholas and Co. of Madras. General view of the overgrown ruins of the Church of Our Lady of Carmel. General view of the overgrown stupa. Bengal list pp. 418-419; see also, J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 120: Beglar was unable, 'owing to active opposition from the Raja's people', to investigate the site in detail, 'but I can confidently say that a careful and thorough examination of the mounds, and especially of the great tope here, will prove a great acquisition to our present meagre knowledge of ancient Indian structures.' General view of the pagoda, with a tree growing out of the top: 'A smaller pagoda, to the north of Hsawm Tawng, known as Tat Kyi Min is remarkable from the fact of a tree growing from its summit, which makes it a conspicuous landmark from a distance' (Scott, 'Gazetteer of Upper Burma and the Shan States', Rangoon, 1901, part II, vol I, p. 443). Duplicate at Photo 92/5 (64).[Albumen print, 115x178mm]. General view of the Pagoda. See also print 48. General view of the pagoda. General view of the pagoda. The letterpress caption note reads: 'The Pagoda that bears this euphonious name is inside the city walls and has been recently restored from its former state of decay. These places of worship are not confined to towns and villages but are built broadeast [sic] throughout the Empire. Solitary fields and roadsides are provided with them, as well as wooded knolls and barren mountain peaks. Some of the ancient ones are were [sic] picturesque and a Chinese landscape seems to be incomplete without one.'[Albumen print, 291x214mm]. General view of the Pagoda (covered in scaffolding), with smaller pagodas in the foreground. Letterpress continues: 'Taken from the N.W. corner of the platform. The scaffolding of bamboo, so much like basketwork, was put up by the Burmese to enable them to regild the Pagoda; an operation which will cost them about �15,000'. General view of the pagoda and associated buildings. General view of the palace, in European style, with ornamental lake in foreground.[Gelatin silver print, 297x247mm]. General view of the palace, in ruinous condition. General view of the palace. General view of the palace. General view of the palace. General view of the Palace at Lahej. General view of the palace at Mercara (modern Madikeri) erected by Linga Rajendra Wadiyar in 1812. In European style, with tennis courts in foreground. General view of the palace buildings, constructed by the Portuguese in 1557 and presented to the Cochin rajas. It was renovated by the Dutch in 1663.[Gelatin silver print, 98x78 mm]. General view of the palace buildings, partially obscured by hedge and trees. It is built in European classical style, with the verandah on the upper floor supported on coupled ionic columns. General view of the palace complex with the Panch Mahal on the left. General view of the palace fa�ade. General view of the palace foundations. The square watchtower can just be seen behind trees at left. Compare plate 119 in John Fritz and George Michell, City of Victory. Vijayanagara (Aperture, New York, 1991). General view of the palace gateway. General view of the palace in the Pichola Lake, hills beyond. General view of the pantiled bungalow. General view of the partially constructed masonry tank house on the Dhond-Manmad State Railway.[Albumen print, 292x200mm]. General view of the partly ruined brick victory tower. General view of the Patothamya Pagoda. Letterpress continues: 'Apparently one of the most ancient of these temples; and probably dating from the tenth century'. With India Museum wetstamp (unnumbered) and signed on the print 'L. Tripe'. Duplicate at Photo 61/1 (16). General view of the pavilion, with the Jumna in the background. General view of the pavilion. General view of the pavilion structure, with pencilled annotations in the sky area identifying Muslim and Hindu elements in the building. Duplicate at Photo 1008/7 (1518).[202x152mm]. General view of the pavilion with arches blocked by jalis or perforated stone screens. General view of the Picture Gallery.[Platinum print.] General view of the pillar (uninscribed). The top of the capital stands on the ground beside the pillar. North-West Provinces list pp. 232-233. General view of the pillared mandapa known as the Raja Sabha. The original caption wrongly locates Chidambaram in 'Ceylon'. General view of the pillar with J.J. Cotton and an Indian man below. General view of the plain square tomb. General view of the plateau, with the Jaya Stambh in the foreground. General view of the platform on which stands the Khandariya Mahadeo temple, the Jagadimbi temple and a small Shiva temple. General view of the Polytechnic School from the courtyard.[Albumen print, 303x378mm]. General view of the Potala from the south-west. General view of the Potala Palace from a neighbouring hillside. General view of the Potala Palace from the south-west. General view of the projecting spur on which the hill fort stands, with the ruins of the Jami Masjid visible on the summit. General view of the Public Works Department, built 1869-72 in Venetian Gothic style to the designs of Colonel Henry St Clair Wilkins, and here seen shortly after completion.[Albumen print, signed 'Bourne & Shepherd 2231E' in the negative, 283x222mm]. General view of the Purana Qila or Old Fort. General view of the pyramidal tower. General view of the pyramidal tower which once housed the palace armoury. General view of the Qila-i-Kuhna Masjid. General view of the quadrangle and mosque facade. General view of the Queen's Kyaung or monastery. General view of the Qutb Minar, the base obscured by trees. General view of the Qutb Minar. Faded print in poor condition.[Albumen print, 182x238mm]. General view of the Qutb Minar. Stereoscopic pair. General view of the Qutb Minar. General view of the Qutb Minar. General view of the Qutb Minar. General view of the Qutb Minar. General view of the Qutb Minar and archway of the Quwwat-ul-Islam Mosque. General view of the Qutb Minar and great arch. General view of the Qutb Minar and surrounding tombs, the area much overgrown. Duplicate of Photo 193 (16). General view of the Qutb Minar from the west, with the Iron Pillar in the left foreground. The dome of the Alai Darwaza can be seen at the extreme right.[Albumen print, signed 'Sach� 134' in the negative, 236x284mm]. General view of the Qutb Minar with the cupola on the right. General view of the Qutb Minar with the gate of the Quwwat-ul-Islam Mosque in the foreground (incorrectly captioned Delhi Gate). General view of the Rajdainbul Temple, with wooded hillside behind. Duplicate at Photo 1000 (1247).[Carbon print ('Autotype'), 255x190mm]. General view of the Raj Mandir. Another copy at Photo 2/4 (56). General view of the Ramalingeshvara Temple, from outside the walls. General view of the ramshackle school building from the street.[Albumen print, 198x243mm]. General view of the Rana Mahal, the smaller of the two palaces. General view of the Rana Mahal. General view of the Ranganatha temple. General view of the raths with a monolithic elephant in the centre. General view of the rear fa�ade of the newly-completed building. General view of the rear of the bungalow. General view of the reception room in the Merassim Palace.[Albumen print, 260x201mm]. General view of the rectangular stone enclosure, inside of which is the group of columns carved in the shape of lotus stems.[Gelatin silver print, 80x55mm]. General view of the rectangular structure standing in the north-west corner of the same enclosure as the Lotus Mahal, and variously identified as guards' quarters, magazine and gymnasium. General view of the red sandstone lat of the Varika king, Vishnuvardhana. General view of the refectory.[Printing-out paper, 252x198mm]. General view of the Regent's house, similar to print 79. 'We lunched with the Regent. A very pleasant informal party, to which he had had the forethought to invite Tsarong Dzasa who was great help. The Regent is most unaffected and simple and gives the impression of being rather tired of the greatness thrust upon him.' (Lhasa Mission Diary, 21 September 1936).[Gelatin silver print, 142x94mm]. General view of the remaining walls of the roofless brick-built church. General view of the remains of the stupa base. General view of the Residency (a thatched Burmese house on stilts), and surrounding land.[Albumen print, 179x117mm]. General view of the Residency complex from the Redan Battery. The Treasury and Banqueting Hall are on the left and the tower of the main Residency building is visible in the distance on the right. This is a copy of a Beato photograph (No 36 in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. General view of the residency cottage at Gulmarg.[Silver printing-out paper, 120x188mm]. General view of the Residency gateway. General view of the Residency where Curzon stayed during his visit. General view of the resthouse, with crowds gathered round. Probably taken during the annual Phaung Daw U Festival (see print 130).[Albumen print, 173x111mm]. General view of the restored stupa, with the south gateway in the centre foreground.[Gelatin silver print, 177x120mm]. General view of the richly-carved Jain temple. General view of the richly-carved monastery. Letterpress continues: 'This was built and endowed by the present Queen. The details of carvings outside and inside far surpass one's expectations of Burmese art. It is of carved wood gilt and inlaid with mirror'. General view of the richly carved supply sluice on the east side of the tanks, a structure with three circular opening set between minar bases. General view of the richly-carved wooden temple car. The European figure posed by one of the wheels may possibly be Lyon himself. 'Immediately opposite to the tower is the Wooden Car, one of the largest and handsomest to be found in the South. It was built only about 25 years ago, by a rich native, who obtained permission from the priests to break up and remodel all the wretched small cars which at different epochs had been made and given to the temple, and thus the beautiful one now used was formed. It is 40 feet high, with a staircase inside by which access is obtained to the top...' Duplicate (later printing) of Photo 1000 (2983). Another copy at Photo 212/3 (3). General view of the rock-cut sculpture of a massive standing figure holding a manuscript at the Potgul Vihara, once popularly supposed to be Parakrama Bahu II, but now more generally thought to be that of a sage (or possibly the deity Kappila). A note in Geraldine Mitton's hand reads: 'This large statue eleven feet six inches in height. It was supposed at first to be a statue of Parakrama the Great (AD 1153) but is now considered to be of a holy man, though contemporary with him. He holds a palm-leaf book and gazes across at the ancient dome-shaped library 200 yards away. The statue is rock-hewn.'[Albumen print, 143x200mm]. General view of the rock-cut temple shikaras. General view of the rock-cut Vattuvan Kovil Temple. General view of the rock sculpture known as Arjuna's Penance. General view of the Roman Catholic Cathedral.[Printing-out paper, 171x123mm]. General view of the Roman Catholic Cathedral (1822). General view of the roof pavilion. General view of the room during Lord Lytton's viceroyalty, with a table laid out in the right foreground. This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, captioned in the negative and blind-stamped 'Bourne & Shepherd India', 294x208mm]. General view of the room during Lord Lytton's viceroyalty. This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, captioned in the negative and blind-stamped 'Bourne & Shepherd India', 290x215mm]. General view of the room in Dr Fayrer's House with a plaque on the wall. General view of the row of domed stables. Duplicate (later printing) of Photo 1000 (3132). Another copy at Photo 212/6 (34). General view of the Royal Alfred Sailors' Home, built 1870-76 and now the Council Hall.[Albumen print, 282x221mm]. General view of the royal tombs. General view of the Royal Tombs at Golconda from the east. In the right foreground is the tomb of Abdullah Qutb Shah; beyond and to the left is the tomb of Hayat Baksh Begum, with the Borrah Masjid (partially concealed) behind it. Another copy at Photo 1224/1 (53). General view of the rubble masonry exterior . General view of the ruined Banqueting Hall in the Lucknow Residency.[Silver printing-out paper, 287x212mm]. General view of the ruined building.[Printing-out paper, 210x150mm]. General view of the ruined fort. General view of the ruined fort. General view of the ruined gateway.[Printing-out paper, 208x153mm]. General view of the ruined house. General view of the ruined minar, originally attached to a no longer existing mosque. See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 73). The minaret was also drawn by the Daniells ('Oriental Scenery', vol. 5, no. 23).[Woodburytype, 182x234mm]. General view of the ruined mosque. General view of the ruined palace. General view of the ruined palace just south of Sarvistan, known as Chahar-taq. (Ancient Persis Map B2). General view of the ruined pavilion. General view of the ruined Rajdainbul Temple at Wangat, with forested hillside beyond. Inscribed in pencil on reverse: 'No. 1218. Ruins of Wangut Sind Valley.' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Abumen print, 285x214mm]. General view of the ruined Residency buildings. A faded print.[Printing-out paper, 207x154mm]. General view of the ruined Rupmati Mahal. General view of the ruined shrine: 'The temple is a small square stone shrine, with all the facing stones fallen nad lying inheaps around it. This is surmounted by a brick and plaster tower. A large tree has grown over it with roots penetrating completely throught the masonry. This has been the sole cause of the ruin. The building is in a hopelessly dangerous condition and beyond repair, even if its architectural merits warrant any work being done to it, which is not the case...' (Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1910-1911 (Madras, 1911), p. 16). General view of the ruined Surya temple. General view of the ruined temple: 'On the western outskirts of the village, and about 100 yards south of the Navalakha Temple, is a ruined Jaina temple of considerable merit. Like the last, its mandapa, save parts ofthe walls, has fallen. It originally consisted of a shrine, an inner closed mandapa and an outer open mandapa or hall or deep porch. The front of the last has gone. Upon either side of the doorway leading from the outer to the inner mandapa is a sculptured niche, in each of which was originally an image of a Jina' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 5). General view of the ruined temple. General view of the ruinous Lal Mahal (Red Palace). Record no. 184 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Delhi Zail, Calcutta, 1919), pp. 137-38. General view of the ruins. A faded print. General view of the ruins. General view of the ruins. General view of the ruins. General view of the ruins. General view of the ruins of a mosque with two domes, constructed from the remains of a Hindu temple. The building is referred to in Cousens' report, paragraph 55. General view of the ruins of the massive mosque. General view of the ruins of the Residency.[Lantern slide, 75X75 mm]. General view of the ruins of the Residency.Size: 522 (w) x 372 (h) mm. General view of the ruins of the Surya Temple. General view of the ruins of the Surya Temple at Martand near Islamabad. General view of the ruins of the tomb. General view of the ruler's palace at Yaunghwe. For another copy of this photograph, see Photo 92/11 (120). General view of the Rupmati Mahal. General view of the samadhi of Maharaja Chhatarasal at Dhubela Lake between Chhatarpur and Nowgong. General view of the sanctuary, with a pyramidal superstructure above walls carved with rearing lions at regular intervals. General view of the sanctuary tower. Described in J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), pp. 160-162: 'The next temple is known as Bhand dewal, from the naked and indecent figures adorning it outside and enshrined inside. This is a lofty and very graceful temple, although much dilapidated; it faces west; it has lost its mandapa and portico, and the front face of the tower has been extensively repaired, and now presents a vertical and perfectly plain surface of white-washed plaster. A great part of the north-east and south-east portions of the tower have also been destroyed and re-built rudely of brick and mortar; but notwithstanding these drawbacks, its tower, seen on the side on which it is yet entire, is singularly graceful in outline. The temple, I was told, was used as a survey station, and to this it owes its preservation. The sides of the tower which showed a tendency to split open are held together by a broad iron strap going completely round the tower about the middle of the upper portion...' There is in fact another restraining band near the top of the tower. General view of the sanctuary tower of the Mahadeva Temple. Plate 6a of J.Ph. Vogel, The Temple of Mahadeva at Bajaura, Kulu in Archaeological Survey of India. Annual Report 1909-10 (Calcutta, 1914), pp. 18-24. General view of the school, a two storey school, with pitched roof and projecting dormers of carved wood in local style. General view of the school building. General view of the school building from the street.[Albumen print, 303x380mm]. General view of the school buildings, opened by Sir Montagu Butler in 1932. For other views of the occasion, see Mss Eur F225/48.[Gelatin silver print, 284x203mm]. General view of the School of Arts and Industry.[Albumen print, 254x193mm]. General view of the School of Civil Law.[Albumen print, 255x192mm]. General view of the semi-ruined Narasimha Temple, with the mandapa in the foreground and sanctuary tower beyond. The lamp-column (broken) leans at an angle in the left foreground. General view of the Shah Najaf. General view of the shell-scarred house.[Albumen print, 298x185mm]. General view of the Shinto torii or gateway. Original and duplicate negatives only, no print. General view of the Shore Temple at Mamallapuram. General view of the shrine, a brick building of rectangular tiered stories. Unlike any other structure at Polonnaruwa, it has been speculated that the shrine may have been erected for the benefit of Cambodian mercenaries of the Singhalese kings.[Gelatin silver print, 55x80mm]. General view of the shrine. General view of the shrine. General view of the Shwegugyi Pagoda, which stands on a balustraded brick platform. With letterpress note: 'Or 'Golden Cane'. A good miniature specimen of the most decorated style of Pugahm architecture. It contains some remarkable inscriptions, and dates from around A.D. 1500'. General view of the Shwemawdaw Pagoda. Second copy negative at B.25632. General view of the Shwe San Daw Pagoda. Second copy negative at B.25624. General view of the Shwethalyaung Image, Pegu. Photograph also used as plate 28 of F.O. Oertal, Notes on a Tour in Burma in March and April 1892 (Rangoon, 1893). General view of the Sibdole Temple, a brick structure with curved tower surmounted with tiered pot-like finials. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 219x180mm]. General view of the side chapel and altar. The reliquary containing the remains of St Francis Xavier stands behind the altar. General view of the single-storey brick building from the garden. General view of the single storey building, with land in the foreground planted out with tea bushes.[Albumen print, 202x162mm]. General view of the single storey building.[Printing-out paper, 252x198mm]. General view of the single storey building.[Printing-out paper, 322x258mm]. General view of the single-storey building. General view of the single storey stone building.[Printing-out paper, 322x261mm]. General view of the single storey stone building. General view of the single storey wooden residency.[Silver printing-out paper, 100x75mm]. General view of the single storied verandahed building. The Fire Brigade drill hall seen in plate 20 can be seen in the background.[Printing-out paper, 320x261mm]. General view of the site. General view of the site. General view of the slab, removed from the ceiling and photographed on the ground in the open air, showing the sculptured rosette. General view of the slab, removed from the ceiling and photographed on the ground in the open air, showing the sculptured rosette. General view of the small, single storey building, flanked by high walls as a protection against explosions.[Printing-out paper, 305x261mm]. General view of the small, square temple with pyramidal roof. The image within of Varaha (Vishnu as boar) can be indistinctly seen. General view of the small building, with the pillar partly visibly beyond the doorway. The Potala Sho is the enclosed area at the foot of the Potala Palace, which can be seen in the background of this print. A very similar view of this building can be found at print 22, but with a slightly different caption. General view of the small church, somewhat faded. General view of the small church. General view of the small domed tomb, situated near the south-east corner of the Jami Masjid. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cvi (a), and described p. 115. General view of the small domed tomb, situated near the south-east corner of the Jami Masjid. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cvi (a), and described p. 115. General view of the small domed tomb. General view of the small English church at Malegaon Cantonment. General view of the smaller Jain temple, with later, brick-built porch. General view of the small Meruvardhanaswami Temple, its roof partially collapsed, and the building half-submerged in the tank in which it stands. The annual report cites this as a building in urgent need of conservation, suggesting a complete dismantling and rebuilding. General view of the small mosque, with graves in foreground. General view of the small mosque in the Red Fort. General view of the small open-sided mandapa, with the west face of the Thousand Pillar Mandapa at the right. Albumen print, 366 x 268 mm. General view of the small rectangular flat-roofed temple. Reproduced as lithograph in A. Cunningham, 'Report of a tour in the Central Provinces in 1873-74 and 1874-75' (A.S.I. vol IX, Calcutta, 1879), pl. vi, and described pp. 31-33. General view of the small rectangular shrine. General view of the small resthouse. General view of the small shrine, partially overgrown with vegetation. General view of the small shrine. General view of the small square temple, the roof partially collapsed. General view of the small stone building, with the chimney still under scaffolding.[Printing-out paper, 320x260mm]. General view of the small stone building with corrugated iron roof. General view of the small stone bungalow with corrugated iron roof. General view of the small stone shrine, in the shape of a shikara. General view of the small stone temple. Duplicate at Photo 1000 (1281).[Carbon print ('Autotype'), 229x179mm]. General view of the small stone temple. The building is fronted by a porch supported on roughly-hewn square-sectioned columns supporting a roof of heavy stone slabs. General view of the small temple, with sculptures leaning in front. General view of the small temple.[Gelatin silver print, 292x198mm]. General view of the small temple.[Silver printing-out paper, 103x75mm]. General view of the small temple. Record no. 415 of Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Delhi Zail (excluding Shahjahanabad), Calcutta, 1919), pp. 298-9. General view of the small temple. General view of the small temple to the north of the larger temple. India Museum no. 860. Duplicate of Photo 1000 (1995) and (3367). General view of the small temple with pitched roof of wooden tiles. General view of the small two storey guardhouse.[Printing-out paper, 319x261mm]. General view of the small whitewashed shrine, with a worshipper seated in front of the entrance.[?Matte collodion printing-out paper, 199x141mm]. General view of the small wooden verandahed bungalow. General view of the somewhat dilapidated Varadaraja Perumal Temple. The temple stands on a high platform, with the porch approached by a flight of stone steps (in foreground). General view of the Sonerhi Mosque taken from an elevated position and looking towards the gateway, with the courtyard and main sanctuary buildings beyond. General view of the southern facade of the four storey building on Esplanade Road, with Payne & Co's premises in the foreground. The building can also be seen at the right of second section of print 126. General view of the southernmost of the two similar Kailasanatha shrines in the temple complex, with the mandapa in the foreground. Negative degenerated, and print shows a fine web of black lines overall. General view of the southernmost of the two similar Kailasanatha shrines in the temple complex, with the mandapa in the foreground. Negative degenerated, and print shows a fine web of black lines overall. General view of the south face of Shaikh Salim Chishti's Tomb.[Developing-out paper, 293x247mm]. General view of the south-facing fa�ade, an elevated arcade of cusped arches overlooking open ground in front. The function of this building is not known with certainty: there appears to be little solid foundation for Lyon's caption. Duplicate (later printing) of Photo 1000 (3133). Another copy at Photo 212/6 (35). General view of the south fa�ade of the Chandra Mahal, with garden in foreground. Photograph by Colin Murray for Bourne and Shepherd. General view of the south tank, the walls of which are in a largely collapsed state.[Albumen print, signed 'Lawton' in the negative, 282x219mm]. General view of the square, brick-built domed tomb. General view of the square Hindu temple. General view of the square shrine, showing carved detail of mouldings. General view of the square stone temple, the roof partially collapsed. General view of the square tomb. General view of the square wooden tower, with firemen grouped in the square at its base.[Printing-out paper, 244x305mm]. General view of the squat, circular stone tower in which the women and children took shelter. Harriet Tytler describes their ordeal there in her memoir, pp.117-26. Print in poor condition, with several folds.Size: 498 (w) x 400 (h) mm. General view of the Sri Pratap Singh Museum. General view of the State dining room, with table set.[Albumen print, signed 'Abdullah Fr�res' in the negative, 255x201mm]. General view of the State dining room.[Albumen print, 257x202mm]. General view of the station building. General view of the station building. General view of the statue of Queen Victoria, Esplanade Road. General view of the stone bridge. General view of the stone bridge. General view of the stone bridge from the side. General view of the stone powder magazine.[Printing-out paper, 324x265mm]. General view of the stone temple car outside the mandapa. General view of the structure, a square building with tiered roofs. General view of the students' hostel. Duplicate at Photo 114 (5). General view of the stupa, graphically illustrating damage from vegetation. A massive split, from which a tree emerges, extends from top to bottom of the dagaba. The photograph has been marked up for cropping.[Albumen print, signed 'Lawton' in the original, 280x215mm]. General view of the stupa, the main mound covered in vegetation.[Gelatin silver print, 120x177mm]. General view of the stupa, with the north gateway in the foreground.[Platinum print, 288x237mm]. General view of the stupa. General view of the stupa. General view of the stupa at Kasia or Kusinagara, the site of the Parinirvana or death of Buddha. Hand-coloured print. General view of the stupa from the south, with the south gate in the foreground. 'Knox went back to Sanchi and took stock of the famous 'tope' which is celebrated as Buddhist relic and is still in a wonderful state of preservation, as the photographs he took show.' (p. 24). General view of the stupa shaped temple.[Printing-out paper, 150x103mm]. General view of the stupa shrine. General view of the substantial brick-built clubhouse. General view of the substantial domed tomb. Caption notes read: 'Colonel Baillie was in command of a detachment marchng to join Sir Hector Munro at Conjeveram in 1780. At Pollilore he was attacked by Haidar's entire army...Colonel Baillie was taken prisoner in chains to Seringapatam, being treated with great barbarity. There he died in 1782. A tomb was erected to him in 1816, near the entrance to Tipu's Mausoleum, by his nephew, who was Resident at the Court of Lucknow.' Duplicate at Photo 2/9 (30). General view of the substantial fort built by Azad Khan. General view of the substantial stone building.[Gelatin silver print, 98x78 mm]. General view of the summerhouse. Photograph possibly by Henry Dixon.[Albumen print, 238x188mm]. General view of the Taj and the two flanking mosques.[Silver printing-out paper, 206x151mm]. General view of the Taj Mahal from the riverbank just to the north-east. Both Dr John Murray (see Photo 35 (1)) and Felice Beato (see Photo 25 (21), who gave the Tytler's tuition in photography, took views of the Taj from an almost identical viewpoint. The information in the caption relating both to the meaning of Taj (Persian, crown) and to the kings of Delhi is incorrect. General view of the tank, with construction material in the foreground. Caption notes read: 'The tank stand which is 42 feet high, is on Chick Banavar Hill, 13 miles north of the city. Water is pumped up 357 feet to the stand tank which commands all parts of the city.' General view of the tank. General view of the tank with shrine in the centre. General view of the Taveli Mahal, built as a stables and guardhouse. General view of the Teli-ka-Mandir. General view of the temple, a modern building with corrugated-iron roof. With monkeys being fed in foreground.[Silver printing-out paper, 206x153mm]. General view of the temple, briefly described in Henry Cousens, The Chalukyan architecture of the Kanarese Districts ( ASI, new Imperial series, vol. XLII, Calcutta, 1926), p. 124, and illustrated pl. cxxxv. General view of the temple, consisting of a mandapa, mahamandapa, antarala and sanctuary tower, raised up on a high terrace, which last Beglar considered to be a later addition. Reproduced as a lithograph in J.D. Beglar, 'Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76' (A.S.I. vol. XIII, Calcutta, 1882) pl. i, and described pp. 6-9. General view of the temple, in dilapidated condition. Cousens' report for the year gives a detailed description of the temple and its condition (pp. 20-23). General view of the temple, in ruinous condition, with mandapa with domed roof in foreground. General view of the temple, in semi-ruinous condition. General view of the temple, its pyramidal roof still covered in vegetation.[Albumen print, 156x106mm]. General view of the temple, much overgrown on roof. See J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 162-163: The temple 'at the extreme west end is a curious and not inelegant building; it is clearly post-Muhammadan, but not of recent date; the roofs are all of overlapping courses, although the arches supporting them are true arches...' General view of the temple, which 'stands upon a high basement and is much ruined, the shrine without its tower, and some of the pillars and beams of the mandapa alone standing. Carved blocks for the ceiling lie about, and the temple generally looks as if it had been left unfinished' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 4).[Printing-out paper, 291x207mm]. General view of the temple, with chinthe or leogriph guarding entrance at right. Letterpress continues: 'One of the most graceful buildings about the city. It is of white stucco, the scroll-work being gilt; the canopy on the summit is of wood, gilt and inlaid with mirror'. General view of the temple, with chinthes facing the roadway at the entrance. The circular object hanging from a yard at the top of the pagoda is presumably a time ball. Letterpress continues: 'From this a very extended view of the town and river can be had. It is used as a signal station because of the distance at which a ship coming up the river can be descried. It is also known as Sale's Pagoda'. The Sale referred to is Sir Robert Henry Sale, who was stationed on the site with a picket during the First Burmese War. General view of the temple, with inscription slabs on either side of the doorway. Photo 1000 (1036) is a slightly reduced copy of this print. General view of the temple, with the lamp-column in the foreground. General view of the temple, with the top of the stupa visible beyond. General view of the temple.[Albumen print, 223x147mm]. General view of the temple.[Albumen print]. General view of the temple.[Gelatin silver print, 96x74mm]. General view of the temple. General view of the temple. General view of the temple at Kafirkot, Bilot. General view of the temple buildings, situated some 14 miles from Udaipur. General view of the temple buildings. General view of the temple complex from the south, with domestic houses and streets in the foreground. Albumen print, 372 x 281 mm. General view of the temple from outside the perimeter wall. General view of the temple on the summit of Takht-i-Sulaiman. General view of the temple on the summit of the hill.[Carbon print ('Autotype'), 229x164mm]. General view of the temple sanctuary tower. General view of the temple surrounded by a high wall and situated adjacent to a tank. This appears to be a Bourne & Shepherd view although the number on the negative, '1177', does not correspond with that in the catalogue (described as the Queen's College, Benares). General view of the temple swathed in scaffolding, with sculpture arranged in a display in front of the building. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). General view of the temple swathed in scaffolding, with sculpture arranged in a display in front of the building. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). General view of the temple swathed in scaffolding. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). General view of the temple swathed in scaffolding. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). General view of the temple tower, with wooden superstructure. 'In the evening I went on to Nugger, fifteen miles further up the valley, and some 1,500 feet above the river...The temples of Koolloo have a curious kind of wooden roof thrown over the stone structure, which I have never seen elsewhere. There is one at Nugger of some celebrity, of which a photograph is annexed.' (Egerton, pp. 5-6). General view of the temple with an elephant sculpture in the foreground. General view of the thatched house, raised on stilts. Print in very poor condition, with several tears. Duplicate at Photo 92/8 (55), this latter in better condition.[Albumen print, 205x151mm]. General view of the Ther (or Raja) Mahal. Duplicate at Photo 1008/8 (1978).[202x153mm]. General view of the the Ther Mahal or Raja Mahal, composed of diminishing tiered stories with arcades of pointed arches. General view of the Thonbanhla Pagoda and surrounding smaller pagodas and pyathats, with a group of Burmese posed in the foreground. General view of the three shrines (to Brahma, Vishnu and Shiva) arranged in a row on the rock-face, each niche flanked by pilasters with guardian figures. This temple is described in James Burgess, 'The cave temples of India' (London, 1880), pp. 152-153, and there named 'Kapul Iswara' (a description followed in Bloch's list). General view of the three shrines (to Brahma, Vishnu and Shiva) arranged in a row on the rock-face, each niche flanked by pilasters with guardian figures. This temple is described in James Burgess, The cave temples of India (London, 1880), pp. 152-153, and there named 'Kapul Iswara' (a description followed in Bloch's list). General view of the Throne Room during the viceroyalty of Lords Dufferin and Lansdowne.[Silver printing-out paper, blind-stamped 'Johnston & Hoffmann India', 286x240mm]. General view of the Thuparama Dagaba from the south-east, surrounded by standing pillars, and with steps and guardstones in the foreground. The note in square brackets above is Geraldine Mitton's amendation of the original caption.[Albumen print, signed 'Lawton' in the negative, 278x217mm]. General view of the tiered pyatthat over the Lion Throne room in the Palace.[Albumen print, 216x263mm]. General view of the timbered hall and staircase. General view of the tomb, also seen in print 85. PUBLISHED: 'Innermost Asia', vol. 1, fig. 251: 'Ruin of Muhammadan tomb, K.K. VI, Khara-khoto, seen from north.' (I.A. Map 28, C3). General view of the tomb, a square, domed structure standing on a platform.[Albumen print, portion missing at bottom left-hand corner, 231x126mm]. General view of the tomb, a square structure with dome, with the mosque beyond. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 51-53. General view of the tomb, flanked by minarets with spiral staircases. General view of the tomb, from inside the walled enclosure. General view of the tomb, from outside the walled enclosure. General view of the tomb, partially obscured by trees in foreground: 'It is of very little account save for a very well carved door and an ornamental lantern which surmounts its dome. The [octagonal] lantern is a peculiar and pleasing feature, but is rare, being only found in this part of Sind so far as the Bombay Presidency is concerned...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, p. 5). General view of the tomb, printed from a badly broken negative. General view of the tomb, standing on an eminence and surrounded by thatched huts. Recorded as No. 311 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Calcutta, 1919), p.220. General view of the tomb, whitewashed and surmounted with a Christian cross as a finial. The tomb was for many years used as the Christian church of St James. General view of the tomb, with central dome surrounded by arcades. General view of the tomb, with the little mosque beyond. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ciii (a), and described p. 111: 'By the roadside, on the way out to the Amin Dargah, and rather more than a mile from the Shahpur Gate...He was one of Bijapur's nobles, though his name does figure very prominently in Bijapur history. This tomb, though of little architectural merit, is interesting as giving a general idea, on a small scale, of what Jahan Begam's tomb at Ainapur was probably intended to be like. On the west of the tomb is the mosque, with a tank between them. The very stilted look of the upper walls of the central chamber, and the dome above, is not altogether pleasant, and there is a lack of good proportion between the different parts of the general design. Taken altogether it shows signs of a general decadence in monumental building, which set in in Bijapur with the interference of the Mughal emperors in the affairs of the state...' General view of the tomb, with the little mosque beyond. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ciii (a), and described p. 111: 'By the roadside, on the way out to the Amin Dargah, and rather more than a mile from the Shahpur Gate...He was one of Bijapur's nobles, though his name does figure very prominently in Bijapur history. This tomb, though of little architectural merit, is interesting as giving a general idea, on a small scale, of what Jahan Begam's tomb at Ainapur was probably intended to be like. On the west of the tomb is the mosque, with a tank between them. The very stilted look of the upper walls of the central chamber, and the dome above, is not altogether pleasant, and there is a lack of good proportion between the different parts of the general design. Taken altogether it shows signs of a general decadence in monumental building, which set in in Bijapur with the interference of the Mughal emperors in the affairs of the state...' General view of the tomb. For a more distant view of this tomb and others, see print 3. The structure is identified as the Tomb of Bibi Pari in the Lalbagh Fort in George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 63).[Albumen print, 264x191mm]. General view of the tomb. Print in poor condition. General view of the tomb. Print in poor condition. General view of the tomb. General view of the tomb (built 1526), a domed structure with a surrounding octagonal arcade with pointed arches. The tomb is situated to the west of the Qutb complex.Size: 480 (w) x 365 (h) mm. General view of the Tomb at the Queen's Mosque before restoration. General view of the tomb framed by the entrance arch. Mrs Storrs-Fox, another woman and Frair Wikins are silhouetted in the foreground. General view of the tomb from the south-east. General view of the tomb in the British Cemetery at Dharwad. General view of the tomb in the quadrangle of the Jami Masjid. General view of the tomb known as Bhul Bhulayan, outside the village of Ruhulla Sarai. A feature of the building externally ar the minarets on each of the four corners of the building. Record no. 381 of Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Delhi Zail (excluding Shahjahanabad), Calcutta, 1919), p. 263. General view of the tomb looking towards the entrance, with an Afghan group posed in the roadway in the foreground.[Albumen print, 285x235mm]. General view of the Tomb of Abdulla Qutb Shah: 'The tomb represented in our photograph is the first that is seen as you approach them from the city of Hyderabad, the road to which may be traced through the scenery to the rear of the tomb. The view is taken from Ma Sahib, or the Queen Mother's Tomb, No. 2.'[Albumen print, faded, 235x193mm]. General view of the tomb of a daughter of Shahjahan, built in a the form of a baradari in the centre of the Raushan Ara Bagh. General view of the tomb of Ali Adil Shah I. General view of the tomb of a Mughal nobleman located close to Nizamuddin. General view of the tomb of Brabazon Ellis, President at Surat. General view of the tomb of Francis Breton, President of Surat, died 21 July 1649. The tomb is an octagonal domed structure. General view of the tomb of Hoshang Shah Gori. General view of the Tomb of Ibrahim Qutb Shah. 'This was the most beautiful of all the tombs of Golconda. Almost the entire of it was covered with enamel of the most beautiful and brilliant colours, a great portion of which still remains on the tomb. When seen from a distance, at sunrise, the appearance is very striking; the sun's rays lighting up the dazzling hues of the enamel, would lead you to imagine that it was studded all over with rubies, emeralds, and other gems.'[Albumen print, 242x190mm]. General view of the Tomb of Ibrahim Rauza. Photograph unsigned, but probably by Dwyer.[Albumen print, 239x173mm]. General view of the Tomb of Muhammad Mahruk, with the Tomb of Omar Khayyam in the niche of the left wing. For another copy of this print, see Photo 1053 (14), located in IOR/L/PS/7/232 (1500). See also print 125.[Gelatin silver print, 147x115mm]. General view of the tomb of Shaikh Nasir-ud-din Chiragh Delhi. From south. General view of the tomb of Sikandar Begum (d.1868), a marble structure with pierced marble windows, standing on a low plinth. General view of the tomb of Sir George Oxenden (d. 1759) in the English Cemetery at Surat. General view of the tomb of the Grand Vizier Sokollu Mehmet Pasha at Eyup.[Albumen print, 325x260mm]. General view of the tombs of William Andrew Price (d. 1774), President at Surat, and of his wife Mary (d. 1761). General view of the Tongsa Dzong. General view of the torana or gateway. The negative has been blocked out along the edges of the structure in order to separate the gateway from the background of trees. A. F�hrer, 'The Monumental Antiquities and Inscriptions in the North-Western Provinces and Oudh' (Allahabad, 1891), p. 125: 'Outside the compund of the modern Jain temples is standing an exquisite torana, or gateway, which, though half-ruined by neglect, is still singularly beautiful, and ought to be carried away to a place of safety.' General view of the tower. General view of the tower. General view of the tower. General view of the tower and ancillary buildings. General view of the Tower of Fame, or Kirthi Stambh. General view of the tower of the Ahalyabai Temple. General view of the Tower of Victory, or Jaya Stambh. General view of the tower of victory, slightly distant. General view of the tower of victory, swathed in scaffolding. General view of the tower of victory. General view of the Town Hall, built in Indo-Saracenic style. General view of the Treasury. General view of the triple-arched entrance. General view of the triumphal arch. General view of the twin temples, situated almost parallel to one another in the courtyard. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxxxviii (b) and described, somewhat dismissively, on pp. 127-128: '...There is nothing very interesting the buildings themselves...' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1357). General view of the two altars, standing side by side. (Ancient Persis Map A2). General view of the two domed tombs, standing side by side. General view of the two Egyptian obelisks in the Hippodrome.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x201mm]. General view of the two entrance gopuras. Duplicate (later printing) of Photo 1000 (3014). Another copy at Photo 212/3 (37). General view of the two monasteries at the southern end of the site. General view of the two monolithic shrines. General view of the two onion-domed towers, the further one covered in scaffolding. 'These are two high towers about 60' in height which were formerly part of the Nawab's Palace, but now form part of the western wall of the jail buildings. The northern one has been recently repaired in a careful manner and the other tower should also be repaired similarly. The brick building adjoining these towers inside the courtyard is beyond repair, being ina hopelessly ruined condition' (Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1911-1912 (Madras, 1912), p. 9). General view of the Two Sisters. General view of the two storey building. General view of the two-storey building. General view of the two-storey building from the garden, with porte-coch�re in the freground. General view of the two storey bungalow. General view of the two storeyed, flat-roofed mansion, with verandahs running round the building on both levels. Additional protection from the sun is provided by awnings roof level, held in position by guy ropes. General view of the two storeyed verandahed bungalow.[Gelatin silver print, 201x150mm]. General view of the two storey entrance gateway: 'The mosque has been used for some time as a Kanarese school, with the inevitable disfiguring additions of partition walls, and inserted doors and barred windows...The gateway at the north-east corner of the mosque, and at right angles to it, is a very much less imposing structure than that of the Mihtar Mahall. It is not near so lofty, nor is it decorated like it. The masonry is very bad, and it does not look as if it were built by the same builders as erected the mosque.' (Cousens, p. 81). General view of the two storey entrance gateway: 'The mosque has been used for some time as a Kanarese school, with the inevitable disfiguring additions of partition walls, and inserted doors and barred windows...The gateway at the north-east corner of the mosque, and at right angles to it, is a very much less imposing structure than that of the Mihtar Mahall. It is not near so lofty, nor is it decorated like it. The masonry is very bad, and it does not look as if it were built by the same builders as erected the mosque.' (Cousens, p. 81). General view of the two-storey European-style building, with domed pavilion or bandstand in the foreground. An official reception of some sort is taking place, with a military guard of honour drawn up in front of the building as a carriage arrives. General view of the two-storey house. A later annotation in pencil has scored out the words 'Fem. Normal School' and replaced them with 'Ch. of England Zenana Mission'. General view of the two-storied brick building from the garden. Modern print.[Gelatin silver print, 126x80mm]. General view of the two-storied verandahed building. General view of the two-storied verandahed house. General view of the two temples, partly obscured by foregrounf vegetation. General view of the two temples, with a torana in the foreground. General view of the uncompleted tower. General view of the undecorated fa�ade of the rock-cut temple. General view of the unfinished gopura, which is without the row of finials seen on all the other gopuras. Credited to Cole in Bloch's list, but in fact part of the series taken for Cole by Nicholas & Co. of Madras. This print is reproduced in photogravure in H.H. Cole, Preservation of National Monuments in India (vol II, (?)Calcutta, c. 1884), part 10, Great Temple of Siva and his consort at Madura, pl. i. Bloch's list incorrectly records this as the 'south gopura, north face.' General view of the unfinished gopura, which is without the row of finials seen on all the other gopuras. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but in fact part of the series taken for Cole by Nicholas & Co. of Madras. This print is reproduced in photogravure in H. H. Cole, 'Preservation of National Monuments in India' (vol II, (?)Calcutta, c. 1884), part 10, Great Temple of Siva and his consort at Madura, pl. i. Bloch's list incorrectly records this as the 'south gopura, north face.' General view of the unfinished minar. General view of the unfinished south gopura of the Ranganatha Temple. General view of the unfinished tomb, with corner towers of similar design to the Gol Gumbaz. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 106 General view of the unfinished tomb, with corner towers of similar design to the Gol Gumbaz. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 106 General view of the unrestored structure, seen here in ruinous condition, with a large pile of masonry to the left of the building.[?Matte collodion printing-out paper, 285x204mm]. General view of the upper storey of the step-well. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1397). General view of the upper storey of the step-well. General view of the Vaidyanatha Temple. General view of the Virupaksha Underground Temple. General view of the waterfront building.[Printing-out paper, 319x260mm]. General view of the waterfront fa�ade. General view of the Well. General view of the well and surrounding colonnaded pavilion, behind the Vishvanatha Temple.[Platinum print, 288x239mm]. General view of the Wesleyan Mission bungalow at Ootacamund. General view of the western torana, with the stupa beyond. General view of the west facade shortly after completion in 1890. Originally designed by Major Charles Mant in an exuberant Indo-Saracenic style, it was completed after his death in 1881 by Robert Fellowes Chisholm and was reputedly the most expensive building erected by a private individual in the 19th century. The Durbar Hall is at the left, the Maharaja's private quarters in the centra and the zenana at the right. General view of the west front. General view of the west front of the See Cathedral or Cathedral of St Catherine, with crowds gathered in front of the building either before or after a service. In the distance in the background is the tower of the Church of St Augustine. General view of the west gopura of the Ramalingeshvara Temple. Duplicate (later printing) of Photo 1000 (3002). Another copy at Photo 212/3 (23). General view of the window, its surface carved in the form trees and intertwining foliage. India Museum no. 523(b). Duplicate of Photo 1000 (2429). General view of the window also seen in print 32.[Gelatin silver print, 201x153mm]. General view of the wood and canvas model of the original Holwell Monument to those who died in the 'Black Hole of Calcutta', erected by Lord Curzon in 1902 on the original site at the north-west corner of Dalhousie Square (now BBD Bagh) in front of the Bengal Secretariat. This view is from the east, with the Office of the Commissioner of Revenue in the background. For a note on the replica, see Mss Eur F111/467 (176).[Platinum print, mounted on board with photographer's stamp, 265x224mm]. General view of the wood and canvas model of the replica of the Holwell Monument which Lord Curzon placed in front of the Bengal Secretariat (originally Writers' Buildings) to replace the lost original (demolished in 1821). Curzon's copy was in its turn later removed and now stands in an obscure corner of the grounds of St John's Church. For a full account of the monument and Curzon's erection of a copy, see his 'British Government in India' (London, 1925, vol. 1, chapter 7). See also Mss Eur F111/492 (3-4).[Gelatin silver print, 178x293mm]. General view of the wooden building.[Printing-out paper, 319x260mm]. General view of the wooden buildings. Plate 12 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view of the wooden building with tiered roof, with part of the scaffolded dome of the Shwe Dagon Pagoda visible in the background. This is a poor quality photograph which appears to have suffered from camera movement during exposure. Letterpress continues: 'It is in these Tazoungs, of which there are four, that the figures of Gautama are placed; they are the chapels, in fact, for devotion'. General view of the wooden temple, showing carved gables. General view of the wooden temple. General view of the wooden thatched building on stilts: 'Took a photo of the tents and of the Pongyi kyaung' (Scott's diary, 6 September, OIOC Mss Eur F278/4 f. 67).[Albumen print, 179x117mm]. General view of the works. General view of the Yeni Valide Mosque, with the Bosphorus visible in the background.[Albumen print, 322x260mm]. General view of this building in Indo-Saracenic style. Date of construction 1907, inscribed over porte-cochere. General view of this large monastery. Letterpress continues: 'Remarkable for its size and for not having a balcony around it'. General view of this substantial building in Indo-Saracenic style, designed by Vincent Esch and seen here shortly after its completion. General view of three domed tombs. From north-east. General view of three-storey European style building. Precise location unspecified. Some overall spotting on print.[Albumen print, 327x253mm]. General view of th school. General view of tier-roofed pyatthats in the monastery. Precise location unknown. Print unsigned, but probably by Jackson. General view of tiled temple building with verandah. General view of Tipu Sultan's Tomb. General view of Tirumala Nayaka Palace and fort complex. General view of tomb, a large single-storey enclosure, with numerous additional graves in the area around the main shrine. Record no. 332 of Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Delhi Zail (excluding Shahjahanabad), Calcutta, 1919), p. 231. General view of tomb, identification uncertain. General view of tomb, in dilapidated and overgrown condition. General view of tomb, partially concealed by row of shows in foreground. General view of tomb, partly obscured by tree in foreground. General view of tomb, surrounded by iron railings. General view of tomb, with group posed for photograph. Faded print.[Silver printing-out paper, 139x80mm]. General view of tomb, with mosque beyond. Reproduced in Henry Cousens, 'Bijapur and its Architectural Remains' (ASI, vol. 37, Imperial series, Bombay, 1916), plate 14 (top). General view of tomb, with others beyond. Recorded as No. 312 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Calcutta, 1919), p.221. General view of tomb, with partially-concealed plinth in foreground. General view of tomb, with praying figures in foreground. General view of tomb, with scaffolding. General view of tomb, with sloping eaves. General view of tomb; vignetting along top edge of print in sky area. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. General view of tomb; vignetting along top edge of print in sky area. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. General view of tomb. 'Built with burnt bricks and decorated with panels of carved bricks showing geometrical relief patterns over a sunk ground, it is a typical specimen of the style of decoration to be found on Muhammadan sepulchral structures in Kharan and Makran apparently dating from late mediaeval times. Within the little tomb chamber a corpse was exposed to view, still retaining rags of its cotton shroud or vestment.' (Gedrosia, p. 38 and fig. 5). General view of tomb. From south. General view of tomb. Right half of two-part panorama. General view of tomb. see note at print 138. General view of tomb. Signed H.D. in the negative. India Museum no. 620. Duplicate of Photo 1000 (2261a) and (2563). General view of tomb. Signed H.D. in the negative. India Museum no. 626. Duplicate of Photo 1000 (2260a) and (2569). General view of tomb. General view of tomb. General view of tomb. General view of tomb. General view of tomb. General view of tomb. General view of tomb. General view of tomb. The graves of Alam Shah and Akbar II can be seen through the cusped arched doorway.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 290x208mm]. General view of tomb and gatehouse. General view of tomb and shrine. General view of tomb and surrounding buildings. The tomb is at the right, with all but the top of the dome concealed by trees, with the entrance gateway in the background, right of centre. Akbar's Mosque is at the left. Printed from a broken glass plate. General view of tomb and surrounding buildings. The tomb is at the right, with all but the top of the dome concealed by trees, with the entrance gateway in the background, right of centre. Akbar's Mosque is at the left. Printed from a broken glass plate. General view of tomb and surrounding railings. This view shows the marble copy of the grave which was installed after the original, which had suffered much from the Indian climate, was removed to St Paul's Cathedral, Calcutta. There is some doubt about the date of this photograph, since most sources state that the old tomb was not removed by Lord Northbrook until 1873.[Silver printing-out paper, made c. 1900, 284x231mm]. General view of tomb building in carved wood. Innermost Asia, vol. 1, fig. 30: 'Ziarat of Shaha-Khel Baba, built in carved timber, Poguch, Darel.' (I.A. Map A). General view of tomb from an elevated position. The platform on which the tomb stands also contains numerous other graves. The dome is scaffolded. General view of tomb from garden.[Albumen print, 216x139mm]. General view of tomb from inside perimeter wall. General view of tomb from south-east, an octagonal building with arched window recesses, a drum and dome. Seen here undergoing repairs. General view of tomb in the Gulab-bari garden, with mosque in left background.[Albumen print, 201x160mm]. General view of tomb in walled compound. General view of tomb of Itimad-ud-daulah. General view of tombs. Duplicate at Photo 1008/6 (782).[202x152mm]. General view of tombs. General view of tombs. General view of tombs and mausolea. General view of tomb set within walled enclosure. 'The tomb of Liu Pu-shen, Huang Musung's Second-in-Command. He died in 1935 as a result of a fall from his horse.' (Lhasa Mission Diary, 18 October to 4 November 1936).[Gelatin silver print, 155x110mm]. General view of tombs in the graveyard, seen from the steps of the church. Duplicate at Photo 1008/6 (781).[202x152mm]. General view of tomb with fluted dome, in semi-ruinous condition. Probably the structure recorded as No. 306 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Calcutta, 1919), p.218. General view of tomb with twin minarets, at Saidapet. General view of Tongsa Dzong. General view of tower.[73x98mm]. General view of tower.[Gelatin silver print, 113x166mm]. General view of tower. General view of tower and surrounding buildings. General view of tower base. General view of towered sanctuary, showing dome. General view of towers over the sanctuary. General view of Trinity Church. General view of triple-domed entrance to mosque. General view of triple-domed mosque (a different building from print 67). India Museum no. 213. Duplicate of Photo 1000 (3432). General view of triple-domed tomb, known as Tin Burji. General view of two graves on a raised platform. General view of two lifeboat sheds. Faded print.[Printing-out paper, 302x244mm]. General view of two mileposts. General view of two overgrown brick temples in the regional style. Sibdole Temple in left beackground, Durgadole at right. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 223x174mm]. General view of two storey brick building.[Gelatin silver print, 291x242mm]. General view of two storey building, with hills beyond.[Printing-out paper, 307x242mm]. General view of two-storey building.[Albumen print, 242x164mm]. General view of two-storey bungalow. Negative only, no print. General view of two-storeyed brick verandahed building (presumably administrative offices) with the roofs of the railway platforms visible in background. Beypore, a few miles south of Calicut on the Kerala coast, was for a period the terminus of the Madras Railway on the west coast. Although far removed geographically from most of the other prints in this album, the identification is confirmed by a small notice on the building reading 'Beypore. Beware of thieves'. General view of two-storey house. Presumably photographed during Bell's visit in November 1906 (see 'Tibet Past and Present', pp. 82-87). Another copy at part 284 (68). General view of two storey stone building.[Printing-out paper, 315x254mm]. General view of two storey stone house, with servants posed in front. Probably the house of Cecil Sydney deButts Martindale, Indian Army. For a portrait of Mrs Martindale, see print 72. General view of two storey thatched bungalow, with a pagoda in the background.[Printing-out paper, 97x73mm]. General view of two-storey wooden bungalow. General view of two temple pagodas. Plate 22 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view of two temples, in ruinous condition. General view of two two domed tombs. The larger of the two, on the right, is that of Saadat Ali Khan; the smaller, in similar style, is that of his wife Khursid Zadi.[Gelatin silver print, 281x216mm]. General view of unexcavated (?stupa) mound. General view of unexcavated area. General view of unexcavated mound. Innermost Asia, vol. 1, fig. 258: 'Debris covering slopes of base of destroyed stupa, K.K. II, Khara-khoto.' (I.A. Map 28, C3). General view of unexcavated mound. General view of unexcavated mound. General view of unexcavated site. General view of unexcavated stupa, with two figures standing on the summit, and other at the base with measuring scales. Albumen print duplicate at Photo 1000 (1280).[Carbon print ('Autotype'), 218x163mm]. General view of unfinished gopura. General view of unidentified buildings. A fenced-off track, presumably for exercising horses, is partly visible in the left foreground, with stable-like buildings beyond. General view of unidentified bungalow from driveway. General view of unidentified domed tomb. General view of unidentified domed tomb. General view of unidentified ruined structure. General view of unidentified tomb. Another copy at Print 369D. General view of unidentified tomb. General view of unidentified tomb at edge of tank. General view of unnamed Jageshwar Temple, with pyramidal roof. General view of unnamed temple. General view of unnamed temple. General view of unnamed temple. General view of unnamed temple pagoda; this building has an interior room, unlike the solid structures seen in print 20. Plate 21 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). General view of unroofed marble lattice-work screen surrounding grave. General view of verandahed summer house among the trees. General view of vernadahed gateway. Duplicate not traced in Archaeological Survey collections, but similar to Photo 1008/11 (145G).[203x153mm]. General view of Viceregal Lodge from the garden, probably photographed soon after its completion in 1888.[Albumen print, 283x198mm]. General view of vimana. General view of W.H. Nightingale's house. General view of walls, with a herd of goats in the foreground. Duplicate at Photo 1008/8 (2170).[202x152mm]. General view of walls. General view of wall with gateway at right. General view of warehouses at the 'Valide' Shipyard at the Imperial Naval Arsenal, Istanbul.[Printing-out paper, 311x248mm]. General view of watch-tower Y. I., north-west of Ying-p'an. Described ii, 768-9. See also print 252. (I.A. Map 25, C2). General view of waterworks. General view of Watson's Esplanade Hotel. General view of west fa�ade, with measuring scale and a figure posed in the foreground. Duplicate of this print at Photo 1000 (1273).[Carbon print ('Autotype'), 173x208mm]. General view of west fa�ade. General view of west fa�ade of Ranjit Singh's Baradari. General view of west wall, showing bastions and gateway. General view of west wall, showing painting on exterior wall: '...situated in a market place in the centre of Udipi town and is the most famous place of pilgrimage in the district...like most temples in this part of the country which are private property and in daily use, there is a painfully modern appearance about it and very little of architectural interest. The central shrine is a small square building in the usual West Coast style standing in a small stone-paved courtyard surrounded by a group of lofty modern buildings arranged in the form of a quadrangle with an entrance on the east side. The exterior walls of this quadrangle are plastered and whitewashed and decorated with a series of crude modern paintings depicting Vaishnava deities and symbols and on the west side facing the main road is a little mandapa consisting of four monolithic pillars supporting a flat stone roof crowned with a brick and plaster stupi decorated with Vaishnava stucco figures' (Alexander Rea, Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1920-1921 (Madras, 1921), p. 24). General view of whole building, including upper stories and towers. India Museum no. 825. Duplicate of Photo 1000 (3332). General view of whole of south gate, showing sculptural detail.[?Matt collodion printing-out paper, 205x277mm]. General view of wood and stone hut.[Printing-out paper, 322x260mm]. General view of wooden gates. General view of wooden hut with corrugated iron roof. General view of wooden model, seen from above.[150x74mm]. General view of wooden monastery buildings.[79x55mm]. General view of wooden studio building. Print in poor condition, overall fading and yellowing.[Printing-out paper, 323x259mm]. General view of wooden temple among trees. General view or remains on temple. General view outside the temple. General view overlooking monastery buildings. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 108, there titled, 'Hemis gompa.' General view overlooking the buildings, with the harbour beyond.[Silver developing-out paper, 293x235mm]. General view overlooking the great square of the Chini Mahal. General view overlooking the tank. General views, looking across garden towards house.[Gelatin silver prints, 135x90mm]. General views, one looking towards palce, one of gardens, taken with a panoramic camera.[Gelatin silver print, 280x88mm]. General view showing corner turrets flanking the three domes. General view showing outer wall, somewhat dilapidated gateway, and temple beyond. Letterpress continues: 'About two miles from Amerapoora, here was placed the famous bronze image of Gautama 12 feet high brought from Aracan in 1784'. General view showing the entrance steps. General view showing vultures perched on the walls. General view similar to print 15. General views of Residency building and gardens. General view General view General view General view General view taken at an earlier date than print 1446. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. General view taken at an earlier date than print 1446. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. General view taken during restoration work. General view through trees. General view with a bullock cart in the foreground. General view with a bullock cart in the foreground. General view with a bungalow under construction in the foreground. General view with a carriage in the foreground. General view with a carriage outside. Possibly one of two towns called Loni, listed in The hand-gazetteer of India (1909) as being in Poona District. General view with a group of children sitting in the left foreground. General view with a group standing outside. General view with an elephant sculpture in the foreground. General view with a plane flying low over the roof. General view with a trolley on the track. General view with ayahs and European children outside. General view with brick bungalow in left foreground. General view with cannons laid out in the courtyard. General view with central portico in foreground. General view with Colonel J.L.T. Jones and staff standing on the verandah. General view with European and India figures in the foreground. General view with Europeans posed on the verandah and in the garden. General view with figures in the foreground. This is a copy of number 18 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato: 'The Mess house showing the fortifications'. See Introduction for notes on the negatives. General view with figures posed in the garden and on the verandah. General view with four European men standing in the foreground. General view with Margaret Ramsden and dog outside. General view with palanquins and carriages outside. General view with pillar in foreground framed by archway (part of the Quwwat-ul-Islam Mosque) beyond. The iron pillar dates from the Gupta period. General view with Ravi River beyond. General view with staff and children outside. General view with station staff (?) and a camel outside. General view with the cupola on the right. General view with the Flora Fountain in the foreground. General view with the Flora Fountain in the foreground. General view with the minar and great arch of the mosque. General view with the Qutb Minar and the Alai Darwaza. General view with the staff of the various departments outside. General view with tourists in foreground. General vieww of south face. Print in very poor condition, with overall spotting.[Albumen print, 308x369mm]. General viof the building: 'We called this morning on the Regent at his private residence which is a newly built small house or pavilion in the grounds of Shiday Gompa in the city of Lhasa...The Regent's pavilion is a very pretty little building and charmingly decorated inside. There is a small square garden surrounded by a high wall, with grass lawn and lovely flower beds with a profusion of flowers. The place is full of pet birds and animals, including a talking 'mina', paroqueets, a monkey, a leopard cub, a fox cub, pheasants, and numerous dogs.' (Lhasa Mission Diary, 28 August 1936).[Gelatin silver print, 141x92mm]. General with mountains beyond. Genera view of two storey bungalow, with corrugated iron roof. Genjeral view (head-on) of the gopura. Ghats, with palace buildings in background. Gigantic cast image of Indra's thunderbolt at the temple at Samburnath. The thunderbolt stands on a carved stone plinth flanked by two guardian lions. Second copy neg at B.7383. Giving a clear view of mouldings and sculptural detail on the south face of the shikara, whose top tiers have been lost. Giving a clear view of mouldings and sculptural detail on the south face of the shikara, whose top tiers have been lost. Giving a good view of sculptural detail on the fa�ade. Glass negative, no print. Good general view, showing restored outer wall and toranas. Good general view from the river. Good general view of the main fa�ade of the mosque. Good general view of the Miri-kalat near Turbat. Good general view of the teak built palace. Gopura at east end of temple, with gateway leading to the Porch of the Eight Goddesses in the foreground. With street traders gathered near entrance. Gopuram of Kapaleshvara temple. Gopura of the Brihadishvara Temple. Gopura of the Manakshi Sundareshvara Temple. Gopura of the Nanjundeshvara Temple. Gordon Sanderson, late Superintendent of Muhammadan and British Monuments, Northern Circle, was killed in action in France in 1915. Sanderson had been largely responsible for the archaeological layout of the Qutb carried out in the seasons before his death. Government House from the park, the building largely obscured by banyan trees in the foreground. Carte de visite size print. Granary building with pointed arched vault. Duplicate at Photo 3/2 (73). Grave in foreground, with domed tomb beyond. Ground plan of mosque. Grounds of the club laid out for a garden party. Group gathered in courtyard.[Gelatin silver print, 134x81mm]. Group in front of temple building. Group in front of the walls of the monastery.[Gelatin silver print, 141x92mm]. Group of 17 prints, uncaptioned and unidentified, mainly of buildings in different locations, presumably taken while being escorted back to Shigatse by Bailey. Group of 66 frescoes. Group of boxed statues, mostly of the figures also seen in print 977. Note with Jamal-Garhi prints reads: 'The plates entered here also include photographs taken from sculptures coming from Takht-i-Bahl and Shahr-i-Buhlul. No separate arrangement was possible. nearly all the sculptures coming from these places are now in the Indian Museum, Calcutta.' Group of boxed statues. Photograph printed from a broken plate. Note with Jamal-Garhi prints reads: 'The plates entered here also include photographs taken from sculptures coming from Takht-i-Bahl and Shahr-i-Buhlul. No separate arrangement was possible. nearly all the sculptures coming from these places are now in the Indian Museum, Calcutta.'Duplicate (earlier print, made before the negative was broken) at Photo 1000 (5916). Group of Buddhist images. Group of chained prisoners standing in the foreground. Group of children posed on part of excavated site. Group of chortens. Original and duplicate negatives only, no print. Group of domed shrines on the bank of the Betwa.[Sepia toned print, 130x79mm]. Group of excavated railing pillars. Group of female dancing figures carved in relief, four of the many thousand apsaras which occur throughout the temple.*Extra print, not included in original published version.[Albumen print, signed 'J. Thomson' in the negative, 230x184mm]. Group of figure pieces. Group of fountain slabs, decorated with shallow relief carvings. Group of four columns. Group of graves and chhatris. Group of houses in a Balti village. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 83, there titled, 'Houses in Skardu'. Group of inscribed slabs with relief carvings, set into wall. Group of low stone houses. Group of memorial stones with relief sculptures. Group of pagodas and chinthes in ruinous and overgrown state. Group of pagodas at Mong Pawn, also seen in print 57. Group of pagodas on the steep hill. Group of painted Buddha images in various attitudes in a shrine in the temple. Print unsigned, but probably by Felice Beato. Group of photographs labelled 'Viceroy's Page': the prints how Viceregal and gubernatorial residences (Viceregal Lodge, Simla; Viceroy's House, New Delhi; Belvedere, Calcutta; The Retreat, Simla Hills), trooper and officer of the Viceroy's Bodyguard, the Viceroy's orchestra (at Simla), and a group of the Viceroy Lord Willingdon, with Lady Willingdon, staff and ADCs.[Gelatin silver prints]. Group of pilaster pieces, photographed against a wall. Group of pillars at end of colonnade. Group of ruined temples. No further information supplied or traced. Group of sanctuary towers, withe Sari Deul in the foreground. This print appears as pl. 35 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466), captioned, 'Sari Deul, north-east, in disrepair.' Group of sculpture fragments lying on ground. The torso and the lion capital are reproduced as a lithograph in plate XXI of Alexander Cunningham, Report of Tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (ASI vol. X, Calcutta, 1880). On p. 56 Cunningham states that he visited Sanchi in 1875 and 1877, but makes no mention of Beglar's presence. It has been assumed that Beglar accompanied him on his 1875 visit, and all the Beglar view of the site have been assigned this date. Group of sculpture of female figures at the museum at Mathura. Described in A. Cunningham, Report of a tour in Eastern Rajputana in 1882-83 (A.S.I. vol. XX, Calcutta, 1885), p. 34: 'The sculptures exhumed have been collected together in a small local museum,which, though convenient for comaprison, is useless for information, as no record has been kept of the spots where the different objects were found...The actual find-spots are now unknown...The largest of these sculptures is unfortunately broken, but enough remains to show that it represents a royal Nagni or Queen of the Nagas, attended by five Nagnis. The figures are nearly life-size, and the sculpture must have occupied some prominent position where it could have been seen on all sides, as the back of it is completely carved with the trunk and branches of a great tree...' Pls. iii and iv are based on this photograph. Group of sculptures, gathered together from various locations.*Extra print, not included in original published version.[Albumen print, 237x184mm]. Group of sculptures. Group of sculpture slabs depicting Jain tirthankaras. Group of sculpture slabs to left of those seen in print 1688. Group of seven standing figures in bronze of the Gautama. Group of seven viragals or memorial stones, with carved panels of battle scenes: 'There are seven in one line which were almost buried while the rest are scattered about. They represent battle scenes where the hero distinguishes and extinguishes himself, and linga worship. They are a very interesting collection, but are uncared for...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 4).[Printing-out paper, 293x198mm]. Group of shrines on edge of kunda or tank. Group of small chortens or stupas, in various stages of decay. Group of small excavated stupas. Group of small excavated stupas. Group of small stupas. Group of small stupas in front of the main stupa. Group of small stupas on hillside. Group of stones carved with calligraphic designs. Group of temples on the hillside. Group of three shikara towers of the Ratan Deo Temples. Group of three stone buffaloes near the Agni Kund Temple. Group of tombs at Golconda. Print in poor condition. Group of tombs in the courtyard of the Jami Masjid between the tombs of Shaikh Salim Chishti (partly visible at left) and Islam Khan. Group of tombs in the Dutch cemetery at Surat. Group of tombs of male descendants of Islam Khan. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 50. Group on the lawn. Guardian image in a Chinese temple. Guardian lion: Elliot (Madras) no. 88, Knox (1992) no. 118; headless statue (not part of Elliot Marbles): Elliot (Madras) no. 143, Knox (1992) not listed; large pillar fragment: Elliot (Madras) no. 74, Knox (1992) no. 109; image of Bodhisattva Avalokitesvara: Elliot (Madras) no. 6, Knox (1992) no. 123; various pillar fragments: Elliot (Madras) no. 72, Knox (1992) no. 117a,b,c. Guns in foreground, with British barracks beyond. Small snapshot. Haghia Sophia from the Sultan Ahmed Fountain, Istanbul. Some overall spotting.[Albumen print, 303x373mm]. Half-length statue of a full-breasted female figure wearing an elaborate head dress and jewellery. The background surrounding the figure has been blocked out on the negative, and it is not possible to determine whether this piece was photographed while still attached to the temple fabric or not. Half-length statue of a full-breasted female figure wearing an elaborate head dress and jewellery. The background surrounding the figure has been blocked out on the negative, and it is not possible to determine whether this piece was photographed while still attached to the temple fabric or not. Half-tone reproduction of an engraving. Hall designed by Colonel Samuel Swinton Jacob. Reproduced in Bremner's 'Baluchistan Illustrated' (1900). Hand-coloured albumen print. Massive Buddha image. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured print. General view from the garden. Hand-coloured print. This is one of the China series of prints described in H. Hering's Photographic views and panoramas taken by Signor Beato. The actual subject is unclear, it may represent monuments associated with a temple or tomb. Hand-coloured salt print. View from the garden of an imposing bungalow, designed in classical style, with portico and pediment and a row of Ionic columns running along the verandah. With servants posed in the foreground and the owner reclining in front of the portico.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Hand-coloured view of the seven-storied Chandra Mahal, taken looking across the Mughal-style garden to the north of the building. Signed and captioned in the negative: 'The Indur Mahal from Garden, Jeypore'. Hasan Khan Suri's Tomb? Date of 124 and 125 should be the same. Hasan Khan Suri's Tomb? Hathi Pol from the inside. From east. Head and shoulders, on pedestal with inscription. Head-on, close view of gopura. Head-on view, but taken close to the entrance of the cave. Head-on view. Head-on view. Head-on view (slightly out of vertical) showing the doorway, with decorative carved architraves in seven bands. Two Indian figures, presumably survey assistants, stand in the doorway to indicate scale. Head-on view from the east of the iwan. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 22. Head-on view of doorway, showing bands of carved decoration. Head-on view of doorway, showing sculptural details on architraves. Described in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pp. 52-53, where the cave is named the 'Amrita Cave' and given the number 9. George Michell (The Penguin guide to the monuments of India, vol. I, London, 1989, p. 192), gives location as Cave 19. Head-on view of doorway, with flanking dvarapalas (guardian figures). Photograph taken during the Western Circle survey season of 1892-93. Variant print (almost identical) at Photo 1009/1 (1345). Head-on view of doorway, with flanking dvarapalas (guardian figures). Head-on view of doorway and surrounding sculptural detail. Head-on view of doorway showing pierced stones windows, looking towards the inner room of the tomb. Not duplicated in India Office Series. India Museum No. 529c. Head-on view of east fa�ade. Note camera tripod standing in foreground. Head-on view of entrance, fronted by two free-standing pillars and two pilasters. Stereoscopic views. Duplicate (later printing) of Photo 1000 (2090). Head-on view of entrance, fronted by two free-standing pillars and two pilasters. Stereoscopic views. Duplicate of Photo 1000 (2090a). Head-on view of entrance. Albumen print duplicate at Photo 1000 (1253).[Carbon print ('Autotype'), 261x191mm]. Head-on view of entrance to chaitya hall, with monolithic pillar in left foreground. India Museum no. 533(c). Duplicate of Photo 1000 (2457). Head-on view of entrance to Dumar Lena cave temple. Head-on view of entrance to shrine. Head-on view of fa�ade.[Albumen print, 244x189mm]. Head-on view of fa�ade. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1377). Head-on view of fa�ade. Head-on view of fa�ade of a small temple, with flat roof and parapet and with a central, triple-arched entrance. India Museum no. 209. Duplicate of Photo 1000 (3428). Head-on view of fa�ade of Pancha Pandava Mandapa. Duplicate (later printing) of Photo 1000 (3073). Another copy at Photo 212/5 (19). Head-on view of gatehouse and bronze gate. Head-on view of gateway. Duplicate at Photo 1008/6 (827).[151x204mm]. Head-on view of gateway. Head-on view of gopura, with stambha (free-standing pillar) in foreground. Signed H.D. in the negative. India Museum no. 622. Duplicate of Photo 1000 (2259a) and (2565). Head-on view of gopura. Duplicate of Photo 1008/10 (103D).[203x153mm]. Head-on view of gopura. Head-on view of granite linga. Head-on view of iwan and entrance to prayer hall. Prints 939-41 form a panoramic view of the east fa�ade of the mosque. Captioned and dated in the negative. Head-on view of main fa�ade.[Albumen print, 305x245mm]. Head-on view of portion of fa�ade.[Gelatin silver print, 201x153mm]. Head-on view of seated Buddha image. Head-on view of section of fa�ade.[Gelatin silver print, 200x154mm]. Head-on view of section of fa�ade. Head-on view of shrine with tirthankara image seated within. The shrine is flanked by richly-carved pillars. See print 2070 for a side view of the shrine. Head-on view of southern fa�ade, showing balcony windows. Head-on view of the arched gateway of the Topkapi Palace.[Albumen print, 310x372mm]. Head-on view of the building. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. Head-on view of the central gatehouse of the palace. Head-on view of the chaitya fa�ade. Numbered 004 in the negative. Photo 1000 (867) is a platinum print from the same negative. Head-on view of the doorway, with richly-sculptured architraves. Reproduced as a lithograph in A. Cunningham, Report of tours in Bundelkhand and Malwa in the 1874-74 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pl. xxxvi. Head-on view of the east fa�ade of the small mosque. Head-on view of the entrance to the temple (east face), a trefoil arch flanked by two pilasters, with a smaller trefoil arch within. Head-on view of the face of the pot finial also seen in print 660. Head-on view of the fa�ade, with full-length figure sculptures in niches between pilasters. Duplicate at Photo 1008/1 (186). Head-on view of the fa�ade of the rock-cut temple. There are three entrances, flanked by guardian figures. A row of horseshoe shaped niches along the parapet contain carved heads. Head-on view of the fountain also seen in print 8.[Albumen print, 310x383mm]. Head-on view of the Ganesh Pol. Head-on view of the gopura, in ruinous condition. Identified as the east gopura of the Vitthala Temple in Bloch's list, but this is certainly the same structure as the restored gopura in Gollings, Fritz and Michell, 'City of Victory' (Aperture, New York, 1991), pl. 53, there identified as the Pattabhirama Temple. The attribution of the photograph to Cole in Bloch's list is probably incorrect. Head-on view of the grilled frontage of the fountain.[Albumen print, 323x260mm]. Head-on view of the main fa�ade of the building.[Printing-out paper, 251x198mm]. Head-on view of the main fa�ade of the gateway. Incorrectly credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). Head-on view of the main fa�ade of the house from the garden. Head-on view of the massive doorway in the Buland Darwaza. It takes its name not from its shape but from the many horse-shoes nailed to it for luck. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 65. Head-on view of the mouth of the cave, showing the front of the massive boulder carved into the shape of a tiger's head. Head-on view of the ornate gateway, with the temple behind (largely obscured by the gateway). This print appears as pl. 14 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466), captioned, 'Muktesvar, west, showing the torana in disrepair'. Head-on view of the principal fa�ade of the gateway to the Gol Gumbaz, the upper storey of which was used as the Naqqar Khana (drum room). The arched openings of the verandah have been walled up. See Henry Cousens, 'Bijapur and its Architectural Remains' (Archaeological Survey of India, vol. 37, Imperial Series, Bombay, 1916), p. 105, where Cousens states that 'The upper hall has, of late, been converted into a museum for a local collection of objects of interest.' See plate 87, which shows the building before and after conversion.[Albumen print, 185 x 151 mm]. Head-on view of the uncompleted cave in the cliff face beside the ghat. Head-on view of the west face of the arched gateway. See Kuraishi, op. cit., pp. 154-156 for a description. Head-on view of three of the central arches of the screen, with the dome behind. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. Head-on view of unidentified temple gopura, possibly from Kanchipuram. India Museum no. 618. Duplicate of Photo 1000 (2561). Head-on view of wall carved with episodes from the Ramayana divided into panels. Duplicate (later printing) of Photo 1000 (3143). Another copy at Photo 212/7 (5). Head-on view of window, showing surrounding mouldings and sculpture. Printed from a broken glass plate. Signed in the negative O.S. Baudesson. Head-on view of window, showing surrounding mouldings and sculpture. Printed from a broken glass plate. Signed in the negative O.S. Baudesson. Head-on view of wooden doorway and pedimented stone surroiunds. Duplicates at Photo 1008/9 (2648) and Photo 3/1 (46).[153x202mm]. Head-on view of wooden doorway and pedimented stone surrounds. Duplicate of Photo 1008/9 (2648). Another copy at Photo 3/2 (124).[Gelatin silver print, 155x204mm]. Heavily furnished in European style. Heavily furnished in European style with a portrait of King George V and Queen Mary prominently displayed in the foreground. Heavily overgrown ruins of a Portuguese church. Heavily-panelled interior of Viceregal Lodge. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 121: '4 large massive slabs bearing sculptures of Siva (2 slabs), Brahma and Vishnu on Sesha. In 1885 they were found lying in the garden of Mr Fletcher's house. On enquiries being made in February 1893, it was found they had been built into the verandah of the house then in the occupancy of Mr J. Campbell, Agent, Southern Mahratta Railway. The slabs are supposed to have been brought from Badami some 25 years ago by Mr William Frere, formerly District Judge of Dharwar, who then occupied the house.' Prints 1912-1914 show the slabs before they were incorporated into Mr Campbell's bungalow. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 121: '4 large massive slabs bearing sculptures of Siva (2 slabs), Brahma and Vishnu on Sesha. In 1885 they were found lying in the garden of Mr Fletcher's house. On enquiries being made in February 1893, it was found they had been built into the verandah of the house then in the occupancy of Mr J. Campbell, Agent, Southern Mahratta Railway. The slabs are supposed to have been brought from Badami some 25 years ago by Mr William Frere, formerly District Judge of Dharwar, who then occupied the house.' Prints 1912-1914 show the slabs before they were incorporated into Mr Campbell's bungalow. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 123, p. 284: '...the main entrance to the old palace, and stands about 40 yards north from it. It is built of black stone, and was erected between 1832 and 1837. It is in modern Musalman style, with pieces of old carving from Jain bastis [temples] inserted here and there...' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1381). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 127: 'The temple of Somesvara in the middle of the town, now used as a school room, is a typical example of a fully decorated Chalukyan temple at its best. With the exception of the finial of the shikara, the roof of the hall, and the front or east porch, it is entire in all its parts. The exterior is lavishly carved with ornament from base to summit. The plan of the shrine is star-shaped externally.'Also reproduced in Henry Cousens, 'The Chalukyan Architecture of the Kanarese Districts' (Archaeological Survey of India, vol. XLII, New Imperial Series, Calcutta, 1926), plate 119, and described, pp. 112-13: 'This temple, which, at some period in the distant past, had been desecrated, and consequently abandoned as a regular place of worship, has, of late years, been used to house a small private school. It is situated in the middle of the town not far from the police chavadi. It is a good specimen of a fully developed Chalukyan temple, but has lost its forward open hall, if, indeed, it was ever built, together with the cornice over the south porch and the upper storey of its tower. It is fully decorated, but, although the ornament itself is rich and good, it is far too crowded, especially over the basement, for good taste. The architects were fond of the frequent repetition of detail, and indulged in this propensity of theirs to its utmost extent. The pilasters along the walls, with the constantly repeated niches and miniature sikharas became almost painfully monotonous, while the string courses of high lights and deep shadows in the basement run round the whole building with the most perfect regularity...'See Photo 120 (1) for another copy of this print. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 127: 'The temple of Somesvara in the middle of the town, now used as a school room, is a typical example of a fully decorated Chalukyan temple at its best. With the exception of the finial of the shikara, the roof of the hall, and the front or east porch, it is entire in all its parts. The exterior is lavishly carved with ornament from base to summit. The plan of the shrine is star-shaped externally.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 128: '...several memorial stones which with others are clustered together in a walled enclosure in the village. These are elaborately carved.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 186; 'Archaeological Survey of Western India', vol. I. pp. 29-34. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 186; Archaeological Survey of Western India, vol. I. pp. 29-34. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 208. Reproduced as a woodcut in James Burgess, 'Archaeological Survey of Western India. Report on the Buddhist Cave Temples and their Inscriptions...1876-77, 1877-78, 1878-79' (vol. 4, London, 1883), frontis. and description pp.8-10. Another copy at Photo 1000/5 (585). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 283: 'The temple of Ambabai or Mahalakshmi is in the middle of the town...The main portico of the building is of two storeys, and is built of black stone from local quarries...The greater part of an older and smaller temple still exists with its own columns and sculpture embedded, as it were, within the larger building, and in the smaller subsidiary shrines in the courtyard we find still more of the old work. All this is genuine Chalukyan masonry, but it is now so much encrusted with whitewash that the minute details of the carving are obliterated. The liberal coatings of crude whitewash with which the shikaras are covered throws them into violent and painful contrast with the well-finished black-stone work which they surmount. The walls outside are covered with a multiplicity of mouldings, and with figures in niches along the upper portion of the lower storey.' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1379). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 283: 'The temple of Ambabai or Mahalakshmi is in the middle of the town...The main portico of the building is of two storeys, and is built of black stone from local quarries...The greater part of an older and smaller temple still exists with its own columns and sculpture embedded, as it were, within the larger building, and in the smaller subsidiary shrines in the courtyard we find still more of the old work. All this is genuine Chalukyan masonry, but it is now so much encrusted with whitewash that the minute details of the carving are obliterated. The liberal coatings of crude whitewash with which the shikaras are covered throws them into violent and painful contrast with the well-finished black-stone work which they surmount. The walls outside are covered with a multiplicity of mouldings, and with figures in niches along the upper portion of the lower storey.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 284: '...the main entrance to the old palace, and stands about 40 yards north from it. It is built of black stone, and was erected between 1832 and 1837. It is in modern Musalman style, with pieces of old carving from Jain bastis [temples] inserted here and there..' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 286: '...on the Krishna, 30 miles east of Kolhapur...a comparatively late structure of the style of the great temple in Kolhapur city...It has never been finished, save with rude brick and plaster in the most vulgar style. The workmanship, though elaborate and careful, lacks the finish, delicacy, and richness of design which are found in the older work...Before the temple stands an unfinished open hall which would have been an imposing and ornate building had it been completed. It was intended that it should have had a magnificent domical ceiling...but this unfinished top has been crowned, in later times, by a very ugly, low, crenellated, rough brick parapet in the very worst taste...' The incomplete mandapa and parapet can both be seen in this photograph. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1372). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 286: '...on the Krishna, 30 miles east of Kolhapur...a comparatively late structure of the style of the great temple in Kolhapur city...It has never been finished, save with rude brick and plaster in the most vulgar style. The workmanship, though elaborate and careful, lacks the finish, delicacy, and richness of design which are found in the older work...Before the temple stands an unfinished open hall which would have been an imposing and ornate building had it been completed. It was intended that it should have had a magnificent domical ceiling...but this unfinished top has been crowned, in later times, by a very ugly, low, crenellated, rough brick parapet in the very worst taste...' The incomplete mandapa and parapet can both be seen in this photograph. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 32: '...a small building of very neat design, and is decorated with surface ornament, much after the style of the Andu Masjid and similar buildings at Bijapur.' This is presumably the same as the Damadi Mosque in Philip Davies, 'The Penguin guide to the monuments of India' (vol. II, 1989). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 32: '...a small building of very neat design, and is decorated with surface ornament, much after the style of the Andu Masjid and similar buildings at Bijapur.' This is presumably the same as the Damadi Mosque in Philip Davies, 'The Penguin guide to the monuments of India' (vol. II, 1989). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 34: 'Some very good wood-carving decorates the fa�ades of two houses at Srigonda, of the style, though not so old, that is found in such abundance in North Gujarat.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 34: 'Some very good wood-carving decorates the fa�ades of two houses at Srigonda, of the style, though not so old, that is found in such abundance in North Gujarat.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 35: '...there still remain, within the precincts of the fort, the ruins of five old Hemapanti temples, one of which, that of Lakshmi-Narayana, is a perfect little gem. It is most profusely decorated both within and without, and its outer walls are thickly covered with figure sculpture. It has, though in a lesser degree than some of the others, suffered severely from the hand of man. It is a Vaishnava temple facing west, built on a high part of the bank overlooking the river, and whose spire, now absent, was, like many of this class, probably constructed in brickwork. The basement mouldings are studded with little figures of horses, elephants and men, and a very rarely occurring moulding is here found, viz., the asvathara or horse moulding. The walls above the basement, the pillars, and door frames are richly wrought, the pillars being of a different type from those generally met with.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 36: '...42 miles S.S.E. from Ahmadnagar...Temple Mallikarjuna...with nine domes and a shrine, the centre dome being cut smooth. The pillars are a good deal cut. The door is opposite the shrine, and on each side of the mandapa are shrines containing images...In the wall on each side of the door are a good many carved figures, principally obscene...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 36: 'Temple od Devi, formerly of Lakshmi-Narayana; mandapa of nine plain domes, supported by four pillars and eight pilasters...The shrine is a sunken one...The outside has not much carving except string courses of lozenge ornament. The outline is brokenby a succession of right angles...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 39: '...a temple which is much plainer and more massive looking than that at Kokamthan...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 39: 'Upon what appears to be an artificial embankment, ptojecting out into the stream, and upon the north-east outskirts of the village, is an exceedingly interesting old temple. It consists of the usual shrine and mandapa, and seems, originally, to have had three porches, one of which, that on the east, has been afterwards converted into a side shrine. The general plan of both shrine and mandapa is star-shaped, the numerous corners, which always give a pretty effect to these buildings, being the corners of superimposed squares upon a common centre...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 41: '...a small hamlet amongst the hills, eight miles to the north-west of Akola. Here is the old triple-shrined temple of Bhavani or Devi...The exterior walls of the temple are ornamented witrh decorative bands similar to that of Siddhesvara at Akola, but in each of the recessed panels around the principal shrine is a female figure, and in each of three niches - one in each face of the back wall of the shrine is a figure. The shikaras, which were built of brick, like that of the Kokamthan Temple, are very dilapidated and pertly destroyed. The rest of the building below the cornice is of stone masonry.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 41: '...a small hamlet amongst the hills, eight miles to the north-west of Akola. Here is the old triple-shrined temple of Bhavani or Devi...The exterior walls of the temple are ornamented witrh decorative bands similar to that of Siddhesvara at Akola, but in each of the recessed panels around the principal shrine is a female figure, and in each of three niches - one in each face of the back wall of the shrine is a figure. The shikaras, which were built of brick, like that of the Kokamthan Temple, are very dilapidated and pertly destroyed. The rest of the building below the cornice is of stone masonry.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 41. The mandapa is roofless, but the shikara is intact. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 46: '...14 miles west of Nasik on the Trimbak road...The most striking feature about all these is the small scale upon which they have been built, and they are all independent shrines, and not satellites to a larger one. They all appear to rest upon brick foundations. They have been dedicated to various deities, the more important ones being Jaina...They face all directions of the compass...' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1325). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 46: '...14 miles west of Nasik on the Trimbak road...The most striking feature about all these is the small scale upon which they have been built, and they are all independent shrines, and not satellites to a larger one. They all appear to rest upon brick foundations. They have been dedicated to various deities, the more important ones being Jaina...They face all directions of the compass...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 49: 'Within, the hall ceiling is, or was, supported by four columns set square in the centre. the walls and ceiling are plain. Only one pillar now remains intact, the others being more or less destroyed...' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1287). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 49: 'Within, the hall ceiling is, or was, supported by four columns set square in the centre. the walls and ceiling are plain. Only one pillar now remains intact, the others being more or less destroyed...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 50: '...the remains of a Chalukyan temple. It consists now of the shrine, but with part of the first storey of the shikara, and eight columns standing out before it in two groups of four each, one behind the other. These pillars are polygonal in plan...four being eight-sided and four six-sided with recessed corners...A most superb piece of carving spans the entrance to the antechamber and is one of the finest pieces of chiselled decorative work to be found in any shrine in Western India...Altogether this temple has been a perfect gem, rich in the very best workmanship, the bas-reliefs being exceedingly well carved.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1280). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 50: '...the remains of a Chalukyan temple. It consists now of the shrine, but with part of the first storey of the shikara, and eight columns standing out before it in two groups of four each, one behind the other. These pillars are polygonal in plan...four being eight-sided and four six-sided with recessed corners...A most superb piece of carving spans the entrance to the antechamber and is one of the finest pieces of chiselled decorative work to be found in any shrine in Western India...Altogether this temple has been a perfect gem, rich in the very best workmanship, the bas-reliefs being exceedingly well carved.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 52: '...an old three-shrined temple...but the three shrines have been rebuilt in a very plain manner. A few courses of the basement of the original building remain belowthe later work, and show that that part, like the porch, was originally highly carved. The porch is elaborately decorated though much damaged...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 52: '...an old three-shrined temple...but the three shrines have been rebuilt in a very plain manner. A few courses of the basement of the original building remain below the later work, and show that that part, like the porch, was originally highly carved. The porch is elaborately decorated though much damaged.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1335). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 52: '...Old Hemadpanti temple of no special interest.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1288). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 52: '...Old Hemadpanti temple of no special interest.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 52: '...the well finished temple of Manikesvara situated at the foot of a small hill to the west of the town. It consists of a central hall with its porch and three shrines, and the main shikara is practically complete. The whole is richly wrought and decorated, and the temple looks exceedingly well as it stands out in the open without any surroundings. The main shrine, hall, and porch are of original construction, the two side shrines are of later and inferior workmanship, and no attempt has been made on these to preserve the lines of mouldings running round the older work...' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1320). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 52: '...the well finished temple of Manikesvara situated at the foot of a small hill to the west of the town. It consists of a central hall with its porch and three shrines, and the main shikara is practically complete. The whole is richly wrought and decorated, and the temple looks exceedingly well as it stands out in the open without any surroundings. The main shrine, hall, and porch are of original construction, the two side shrines are of later and inferior workmanship, and no attempt has been made on these to preserve the lines of mouldings running round the older work...' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 56: '...on the east of the main road are the ruins of an Hemadpanti temple, standing upon rocky ground in the midst of the fields.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1316). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 56: '...on the east of the main road are the ruins of an Hemadpanti temple, standing upon rocky ground in the midst of the fields.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 60: 'The temple of Changdeva has been a very large and fine temple, but it is now mostly rebuilt in the most outrageous fashion. It was a Vaishnava temple. The walls round the shrine, up to the cornice, are intact and highly wrought with ornament. Portions only of the lower parts of the walls of the hall remain, upon which mud and brick continuations have been carried up to supply the missing portions...' These later additions are clearly visible in the photograph. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1303). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 60: 'The temple of Changdeva has been a very large and fine temple, but it is now mostly rebuilt in the most outrageous fashion. It was a Vaishnava temple. The walls round the shrine, up to the cornice, are intact and highly wrought with ornament. Portions only of the lower parts of the walls of the hall remain, upon which mud and brick continuations have been carried up to supply the missing portions...' These later additions are clearly visible in the photograph. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 61: '...the ruins of what was once a very fine temple of the best style of work. Portions only of the plinth and walls of the back of the shrine now remain, showing the mouldings of the basement, and portions of the richly carved wall above it. For the rest, the addition of mud walls has preserved the place as the habitation of the god now worshipped.' A square tower has been built on top of the original base of the shrine. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1301). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 61: '...the ruins of what was once a very fine temple of the best style of work. Portions only of the plinth and walls of the back of the shrine now remain, showing the mouldings of the basement, and portions of the richly carved wall above it. For the rest, the addition of mud walls has preserved the place as the habitation of the god now worshipped.' A square tower has been built on top of the original base of the shrine. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 61: '...The temple consists of the usual shrine, a hall whose roof has disappeared, and a very prolonged porch. The exterior of the temple is perfectly devoid of figure sculpture, its place being taken by three bands of geometric ornament. These are exceedingly chaste and effective, and run round, in unbroken lines, the three sides of the exterior walls of the hall and shrine. The ceiling of the antechamber is peculiar in that the mouldings assume an oval in plan, a veryunusual shape for a ceiling. In the shrine is a linga, and the temple would seem to have been originally dedicated to Shiva.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1296). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 61: '...The temple consists of the usual shrine, a hall whose roof has disappeared, and a very prolonged porch. The exterior of the temple is perfectly devoid of figure sculpture, its place being taken by three bands of geometric ornament. These are exceedingly chaste and effective, and run round, in unbroken lines, the three sides of the exterior walls of the hall and shrine. The ceiling of the antechamber is peculiar in that the mouldings assume an oval in plan, a veryunusual shape for a ceiling. In the shrine is a linga, and the temple would seem to have been originally dedicated to Shiva.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 61: '...though originally an old temple it has been almost entirely rebuilt with brick, rubble, and plaster masonry, and is now of no account architecturally.' Small format print. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1297). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 61: '...though originally an old temple it has been almost entirely rebuilt with brick, rubble, and plaster masonry, and is now of no account architecturally.' Small format print. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 64: '...about seven miles to the north-east of Chalisgaon...situated upon an artificial mound upon the banks of the river, and is now partly in ruins. Smaller shrines which surrounded it...have disappeared save the ruins of one which stood on the south of the temple...Lying within the temple, and also outside are large blocks, portions of the temple, upon which are carved full length figures of Surya, three on each...The shikara or tower of the temple has disappeared.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1294). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 64: '...about seven miles to the north-east of Chalisgaon...situated upon an artificial mound upon the banks of the river, and is now partly in ruins. Smaller shrines which surrounded it...have disappeared save the ruins of one which stood on the south of the temple...Lying within the temple, and also outside are large blocks, portions of the temple, upon which are carved full length figures of Surya, three on each...The shikara or tower of the temple has disappeared.' Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 141-142. With a row of inscription slabs in the left foreground. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 141-142. With a row of inscription slabs in the left foreground. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 191-192. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1355). Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 40-41. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1273). Hermit's cell built into rock face.[Gelatin silver print, 82x134mm]. Hill two miles north of Chatsu. Hindu figures carved in the rock face at one of the temples. Hindu shrine standing among trees. Home of F.L. O'Callaghan with his wife standing in the doorway. Hong Kong? Hospital for women and children erected in 1890. House from driveway. Small snapshot. House of Samuel Swinton Jacob. House under construction in the Potala Sho quarter. Identification uncertain: caption taken from Bloch's list. The attribution of the photograph to Cole in Bloch's list is probably incorrect. Identification uncertain: the caption given in Bloch's list reads: 'Acyuta Rayals' temple of Vitoba: general view, previous to clearing away of jungle.' The attribution of the photograph to Cole in Bloch's list is probably incorrect. Identification uncertain. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. Identification uncertain. Credited to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. Identification uncertain. Printed from a badly broken glass plate. Signed in the negative O.S. Baudesson 1882. Identification uncertain. Printed from a badly broken glass plate. Signed in the negative O.S. Baudesson 1882. Identification uncertain. Printed from a broken glass plass. Signed in the negative O.S. Baudesson 1882. Identification uncertain. Printed from a broken glass plass. Signed in the negative O.S. Baudesson 1882. Identification uncertain. Printed from a broken glass plate. Identification uncertain. Printed from a broken glass plate. Identification uncertain. Identified as the Pudu Mandapa in Bloch's list. This print is reproduced in photogravure in H.H. Cole, Preservation of National Monuments in India (vol II, (?)Calcutta, c. 1884), part 10, Great Temple of Siva and his consort at Madura, pl. iii. Identified as the Pudu Mandapa in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). This print is reproduced in photogravure in H. H. Cole, 'Preservation of National Monuments in India' (vol II, (?)Calcutta, c. 1884), part 10, 'Great Temple of Siva and his consort at Madura', pl. iii. Identified in Bloch's list as the Mahakali Temple: it appears to match the description given of the temple named the Kalika Mata in George Michell, 'The Penguin guide to the monuments of India' (vol I, London, 1989). Identified in Bloch's list as the Mahakali Temple: it appears to match the description given of the temple named the Kalika Mata in George Michell, The Penguin guide to the monuments of India (vol I, London, 1989). Identified in Punjab District Gazetteers Jullundur (1980) as the Tomb of Haji Jamal. Identified in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) as Buhlul Lodi's Tomb, but the photograph appears to match in every respect the description given of Mubarak Sayyid's Tomb in Carr Stephen, 'The archaeology and monumental remains of Delhi' (Ludhiana and Calcutta, 1876), pp. 159-161. See also the illustration of this tomb in Christopher Tadgell, 'The history of architecture in India' (London, 1990), p. 170. The attribution to Cole is probably incorrect and most likely refers to him as the commissioner rather then the taker of the photograph. Identity of building unclear. Identity of mosque uncertain Identity uncertain: Bloch notes that the print book in the Indian Museum, Calcutta lists this as the front view of a 'Jain temple, called Sati dewal', at Chittaurgarh. The caption above is taken from the negative, and is presumably more accurate. Identity uncertain: Bloch notes that the print book in the Indian Museum, Calcutta lists this as the front view of a 'Jain temple, called Sati dewal', at Chittaurgarh. The caption above is taken from the negative, and is presumably more accurate. Illuminated, presumably in honour of the Viceroy's visit. Images of the Buddha and other scenes.[Photogravure, 253x203mm]. Image spoiled. Image spoilt. Interior of cave. (I.A. Map 28, C3). Image spoilt. View of interior of shrine. (I.A. Map 28, C3). Includes activities in the Tibetan school, portraits of David Macdonald's daughter on Tibetan dress, a Tibetan theatrical performance, exposition of the Gyangze carpet, a hermit's cell. Incorrectly captioned: see duplicate at print 444. This print shows a general view of the excavated trench, with the Dhamekh Stupa in the background. Incorrectly captioned? View appears to be looking north along the inner face of the east enclosure wall of the temple. Incorrectly captioned. Photo 1000 (1026) is a reduced and cropped copy of this print, where it is also incorrectly located, this time as Halebid. Incorrectly captioned. Photo 1000 (1054) is a cropped copy of this print. Incorrectly captioned. Photo 1000 (1060) is a cropped and reduced copy of this print. See Photo 430/41 (25) for a later view taken from the same viewpoint. Incorrectly captioned. The view looks north along the inner face of the west enclosure wall of the temple, with a small portion of the west face of the shrine visible at the extreme right. Photograph taken from the south-west corner of the temple complex. Incorrectly captioned. View inside the temple complex, looking westwards along the northern enclosure wall towards the main shrine. With the north wall of the mandapa in the left foreground. Incorrectly captioned. With sculpture of Sala in combat with a tiger on top of the main shrine. Photo 1000 (1089) is a cropped and slightly reduced copy of this print. Photo 208 (14) is a similar view of this temple. Incorrectly captioned 'At Sonamarg, Kashmir...' on reverse. Incorrectly captioned 'Jumma Musjid, Agra', on reverse of print. Incorrectly captioned 'Metcalfe House'. Incorrectly captioned print. The photograph shows the massive monolithic sculpture of Vishnu in man-lion incarnation at Vijayanagara. Incorrectly captioned print. The view looks towards an entrance to the Ramachandra Temple, with a wall carved with processional friezes at the right. Incorrectly captioned print. View from one side of the porch seen in print 525, but showing the carved plaster figures on the parapet. Incorrectly captioned Shah-Wuze-u-deen's Musjid. India Museum no. 539(c). Duplicate of Photo 1000 (2476). Incorrectly captioned view. Amended caption taken from Bourne & Shepherd catalogue. Shows part of fa�ade of Gobind Deo's Temple at Vrindavan. Incorrectly credited to Beglar, but actually by Cousens. Described in Beglar, 'Report of a tour in Bundelkhand and Malwa, 1871-72...' (A.S.I. vol VII, Calcutta, 1878), p. 70: '...The principal statue inside is a life-size figure of Maya Devi with the infant Buddha; this superb bas-relief, which competent judges have pronounced to be the finest and largest piece of Indian sculpture...is 6 feet 3 inches long, 3 feet 6 inches wide...' Bloch's list cast doubt on this identification of the sculpture. Another copy of this print at Photo 1002 (1324). Incorrectly credited to Beglar, but actually by Cousens. Described in Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72... (A.S.I. vol VII, Calcutta, 1878), p. 70: '...The principal statue inside is a life-size figure of Maya Devi with the infant Buddha; this superb bas-relief, which competent judges have pronounced to be the finest and largest piece of Indian sculpture...is 6 feet 3 inches long, 3 feet 6 inches wide...' Bloch's list cast doubt on this identification of the sculpture. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1433). Incorrectly credited to Beglar in Bloch's list. See Alexander Cunningham and H.B.W. Garrick, Report of tours in North and South Bihar, in 1880-81 (A.S.I. vol. XVI, Calcutta, 1883), p. 135: 'On examining the great temple, my attention was drawn to the peculiar method by which the uppermost chamber is roofed in, and I wished to take a photograph which would give an idea of this strange and rare example of corbelling work. There is but little light in this chamber, only what is admitted through the irregular opening to the east, besides which there are a number of supprting jambs, propping up the vault, which appears to be rather unsafe...these jambs also obstruct the view in a great measure. However, by inverting the apparatus [ie camera] on the scaffolding, I managed to secure a memorandum of this rather interesting architectural detail of a by-gone time...'Duplicate of Photo 1002 (51). Incorrectly credited to H.H. Cole in Bloch's list. Reproduced in photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 3. Incorrectly credited to H.H. Cole in Bloch's list. Reproduced in photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 4. Incorrectly credited to H.H. Cole in Bloch's list. The view looks towards the stupa, with the pillars of the vihara at the left. Reproduced in photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 5. Incorrectly credited to H.H. Cole in Bloch's list. The view looks towards the stupa, with the pillars of the vihara at the left. Reproduced in photogravure in H.H. Cole, Preservation of national monuments in India (vol. II, c. 1885), part 7, Great Buddhist Tope at Sanchi, pl. 5. Incorrectly identified as Cave III, which is a vihara or monastery. This shows the interior of chaitya hall, Cave XIII. View looking along aisle towards votive stupa. Incorrectly identified as the mosque at Sikander Lodi's Tomb in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). The attribution to Cole is probably incorrect and most likely refers to him as the commissioner rather than the taker of the photograph. Incorrectly identified as the mosque at Sikander Lodi's Tomb in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). View looking across the court towards the main fa�ade of the mosque. The tomb is off to the left. Incorrectly listed by Bloch as the Diwan-i-Khas. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Incorrectly recorded as west gopura in Bloch's list. Incorrectly recorded as west gopura in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). Indentified in Bloch's list as: 'Kurma- and Matsya-avatara, and two Buddhistic statues.' See 'Journal of the Asiatic Society of Bengal', vol. XXXV, part I, 1866, p. 192. India? The architecture looks more Middle Eastern or possibly North African. A street sign in the distance appears to be in French. India Museum No. 113. Duplicate of Photo 1000 (645). India Museum No. 115. Duplicate of Photo 1000 (643). India Museum No. 116. Duplicate of Photo 1000 (638). India Museum No. 118a. Duplicate of Photo 1000 (639). India Museum No. 120. Variant of Photo 1000 (662). India Museum No. 121. Reproduced as woodcut in Archaeological Survey of Western India, IV, facing p.49. The vihara cave is at the right, the chaitya hall with horseshoe shaped window to the left, slightly obscured. Duplicate of Photo 1000 (640). India Museum No. 124. Unnamed temple in right foreground, looking across river towards Kapaleshvara Temple in distance. Duplicate of Photo 1000 (666). India Museum No. 125. Duplicate of Photo 1000 (42). India Museum No. 127. Duplicate of Photo 1000 (641). India Museum No. 128. Duplicate of Photo 1000 (661). India Museum No. 130. Duplicate of Photo 1000 (47). India Museum No. 131. Showing exterior fa�ade of cave: 'a small excavation that may have been originally a verandah...but the front wall and dividing partition have been cut away, and the walls pretty nearly covered with sculpture, consisting of sitting and standing Buddhas with attendant chauri-bearers, in some cases unfinished. These are additions of Mahayana Buddhists of the sixth or seventh century.' Fergusson and Burgess, The Cave Temples of India (London, 1880), p.267. Duplicate of Photo 1000 (635). India Museum No. 1638.With original 10""x8"" glass negative, broken; and variant, broken and unprinted. Negative stored in Neg. Box 115. India Museum No. 1657.With 12""x10"" glass copy negative, sky blocked out. Negative stored in Neg. Box 3. India Museum no. 193, acquired 1869. Note with print refers to (untraced) letter 'from Mr J.H. Thornton to Mr J. Thomas' with which the print was received. India Museum no. 205. Duplicate of Photo 1000 (3424). India Museum no. 206. Duplicate of Photo 1000 (3426). India Museum no. 215. Duplicate of Photo 1000 (3434). India Museum no. 216. Duplicate of Photo 1000 (3435). India Museum no. 217. Duplicate of Photo 1000 (3436). India Museum no. 219. Duplicate of Photo 1000 (3438). India Museum no. 486. Duplicate of Photo 1000 (2371). India Museum no. 487. Duplicate of Photo 1000 (2372). India Museum no. 506(a). Duplicate of Photo 1000 (2393). India Museum no. 507(b). Duplicate of Photo 1000 (2396). India Museum no. 510(a). Duplicate of Photo 1000 (2400). India Museum no. 510(b). Duplicate of Photo 1000 (2401). India Museum no. 511(a). Duplicate of Photo 1000 (2402). India Museum no. 515(a). Duplicate of Photo 1000 (2410). India Museum no. 515(b). Duplicate of Photo 1000 (2411). India Museum no. 516(a). Duplicate of Photo 1000 (2412). India Museum no. 516(b). Duplicate of Photo 1000 (2413). India Museum no. 518(b). Duplicate of Photo 1000 (2417). India Museum no. 520(b). Duplicate of Photo 1000 (2421). India Museum no. 521(a). Duplicate of Photo 1000 (2422). India Museum no. 521(b). Duplicate of Photo 1000 (2423). India Museum no. 522(b). Duplicate of Photo 1000 (2425). India Museum no. 523(a). Duplicate of Photo 1000 (2427). India Museum no. 524(b). Duplicate of Photo 1000 (2431). India Museum no. 525(a). Duplicate of Photo 1000 (2432). India Museum no. 527(b). Duplicate of Photo 1000 (2439). India Museum no. 528(a). Duplicate of Photo 1000 (2441). India Museum no. 528(b). Duplicate of Photo 1000 (2442). India Museum no. 528(c). Duplicate of Photo 1000 (2443). India Museum no. 530(c). Duplicate of Photo 1000 (2447). India Museum no. 531(a). Duplicate of Photo 1000 (2448). India Museum no. 531(d). Duplicate of Photo 1000 (2451). India Museum no. 532(b). Duplicate of Photo 1000 (2453). India Museum no. 532(c). Duplicate of Photo 1000 (2454). India Museum no. 533(a). Duplicate of Photo 1000 (2455). India Museum no. 534(a). Duplicate of Photo 1000 (2458). India Museum no. 534(c). Duplicate of Photo 1000 (2460). India Museum no. 536(b). Duplicate of Photo 1000 (2469). India Museum no. 538(b). Duplicate of Photo 1000 (2473). India Museum no. 539(a). Duplicate of Photo 1000 (2474). India Museum no. 539(b). Duplicate of Photo 1000 (2475). India Museum no. 541(a). Duplicate of Photo 1000 (2480). India Museum no. 542(c). Duplicate of Photo 1000 (2485). India Museum no. 545. Duplicate of Photo 1000 (2488). India Museum no. 546. Duplicate of Photo 1000 (2489). India Museum no. 548. Duplicate of Photo 1000 (2491). India Museum no. 549. Duplicate of Photo 1000 (2492). India Museum no. 550. Duplicate of Photo 1000 (2493). India Museum no. 551. Duplicate of Photo 1000 (2494). India Museum no. 552. Duplicate of Photo 1000 (2495). India Museum no. 553. Duplicate of Photo 1000 (2496). India Museum no. 554. Duplicate of Photo 1000 (2498). India Museum no. 555. Duplicate of Photo 1000 (2497). India Museum no. 556. Duplicate of Photo 1000 (2499). India Museum no. 557. Duplicate of Photo 1000 (2500). India Museum no. 559. Duplicate of Photo 1000 (2502). India Museum no. 561. Duplicate of Photo 1000 (2504). India Museum no. 565. Duplicate of Photo 1000 (2508). India Museum no. 566. Duplicate of Photo 1000 (2509). India Museum no. 567. Duplicate of Photo 1000 (2510). India Museum no. 568. Duplicate of Photo 1000 (2511). India Museum no. 569. Duplicate of Photo 1000 (2512). India Museum no. 571. Duplicate of Photo 1000 (2514). India Museum no. 573. Duplicate of Photo 1000 (2516). India Museum no. 576. Duplicate of Photo 1000 (2519). India Museum no. 577. Duplicate of Photo 1000 (2520). India Museum no. 579. Duplicate of Photo 1000 (2522). India Museum no. 581. Duplicate of Photo 1000 (2524). India Museum no. 582. Duplicate of Photo 1000 (2525). India Museum no. 585. Duplicate of Photo 1000 (2528). India Museum no. 594. Duplicate of Photo 1000 (2537). India Museum no. 595. Duplicate of Photo 1000 (2538). India Museum no. 604. Duplicate of Photo 1000 (2547). India Museum no. 608. Duplicate of Photo 1000 (2550). India Museum no. 611. Duplicate of Photo 1000 (2554). India Museum no. 612. Duplicate of Photo 1000 (2555). India Museum no. 617. Duplicate of Photo 1000 (2560). India Museum no. 619. Duplicate of Photo 1000 (2562). India Museum No. 660. India Museum no. 67. Duplicate of Photo 1000 (2061a). India Museum no. 72. Duplicate of Photo 1000 (2066a). India Museum no. 76. Duplicate of Photo 1000 (2070a). India Museum no. 834. Duplicate of Photo 1000 (3341). India Museum no. 835. Duplicate of Photo 1000 (3342). India Museum no. 837. Duplicate of Photo 1000 (3345). India Museum no. 838. Duplicate of Photo 1000 (3346). India Museum no. 85. Duplicate of Photo 1000 (2079a). India Museum no. 856. Duplicate of Photo 1000 (3363). India Museum no. 882. Duplicate of Photo 1000 (3387). India Museum no. 903. India Museum no. 91. Duplicate of Photo 1000 (2085a). India Museum no. 94. Duplicate of Photo 1000 (2088a). India Museum No. 957. Plate 44 of James Burgess, The Temples of Satrunjaya (Sykes and Dwyer, Bombay, 1869). Indian architecture - Hindu - temples Indian group standing in palace gateway. The arch is flanked by painted walls, above which stand statues of two elephants. Indian murals on the walls of India House, London. Indian Museum no. 502. Duplicate of Photo 1000 (2388). Indistinct image, with measuring rod in centre. (I.A. map 28, C3). Indistinct image. (I.A. Map 38, B4). Indistinct image. (I.A. Map 45, C1). Indistinct image showing fresco of Buddha images. (I.A. Map 28, C3). Indistinct view of the interior of a bungalow, possibly the building seen in print 42. Individuals named as follows: 'Mr Horsfall, Major Grant VC, Mr Ross, Ian, Miss Horsfall, Mr B[?]y, Mr Thomas, Capt Watson'. Poor quality print. Inner courtyard with tables laid out. Inner gate of Badan Singh's palace. With characteristic bangaldar or curved roof over the entrance. It was Badan Singh (see print 2) who began the development of Dig as the Jat capital. Duplicate at Photo 430/27 (37). Innermost Asia, vol. 1, fig. 112: 'Portion of painted dado on north-west wall of rotunda passage in shrine M. V, Miran site. (Continued in fig. 113 [print 79]).' (I.A. Map 30, B2). Innermost Asia, vol. 1, fig. 113: 'Portion of painted dado on north-west wall of rotunda passage in shrine M. V, Miran site. (Continued in fig. 114 [print 80]).' (I.A. Map 30, B2). Innermost Asia, vol. 1, fig. 114: 'Portion of painted dado on north wall of rotunda passage in shrine M. V, Miran site. (Continued in fig. 115 [print 77]).' (I.A. Map 30, B2). Innermost Asia, vol. 1, fig. 115: 'Portion of painted dado on north wall of rotunda passage in shrine M. V, Miran site. (Continued from fig. 114 [print 80]).' (I.A. Map 30, B2). Innermost Asia, vol. 1, fig. 129: 'Sections of south-western rampart, breached by wind erosion, of Fort L.K., Lop desert.' (I.A. Map 29, D4). Innermost Asia, vol. 1, fig. 130: 'Wind-eroded ground outside south-west face of Fort L.K., Lop Desert.' (I.A. Map 29, D4). Innermost Asia, vol. 1, fig. 148: 'Ruined structure, L.A. II, and ground to south, showing dead tamarisk growth in depression.' (I.A. Map 29, D3). Innermost Asia, vol. 1, fig. 226: 'Cave shrines, with antechapels exposed, near centre of Ch'ien-fo-tung site.' (I.A. Map 38, B4). Innermost Asia, vol. 1, fig. 241: 'North-western corner of circumvallation of Khara-khoto, with stupas outside, seen from north.' (I.A. Map 28, C3). Innermost Asia, vol. 1, fig. 242: 'South face of circumvallation of Khara-khoto, with sand heaped up on lee side.' (I.A. Map 45, C1). Innermost Asia, vol. 1, fig. 244: 'Interior of Khara-khoto, looking towards south-east [sic].' (I.A. Map 45, C1). Innermost Asia, vol. 1, fig. 245: 'Interior of Khara-khoto, looking towards north-west.' (I.A. Map 45, C1). Innermost Asia, vol. 1, fig. 248: 'Ruined stupas built above north-west corner of circumvallation, Khara-khoto.' (I.A. Map 45, C1). Innermost Asia, vol. 1, fig. 249: 'Alcove at back of Temple K.K. I, i [sic], Khara-khoto, with image bases.' The discrepancy in the location of the site has not been resolved. (I.A. Map 28, C3). Innermost Asia, vol. 1, fig. 250: 'Bastions guarding eastern gate of Khara-khoto.' (I.A. Map 45, C1). Innermost Asia, vol. 1, fig. 252: 'Front of Muhammadan tomb, K.K. VI, Khara-khoto, facing eastward.' (I.A. Map 45, C1). Innermost Asia, vol. 1, fig. 267: 'Temple quarters outside city wall of Kan-chou.' (I.A. Map 46, B3). Innermost Asia, vol. 1, fig. 268: 'Stupa and temple behind shrine of the 'Great Buddhas', Kan-chou.' (I.A. Map 46, B3). Innermost Asia, vol. 1, fig. 273: 'Stucco images of Buddha and Bodhisattva in chapel of second story of cave-shrines, Ma-ti-ssu.' (I.A. Map 46, B4). Innermost Asia, vol. 1, fig. 274: 'West court of Ta-ssu-miao temple, Nan-kou-ch'eng.' (I.A. Map 46, B3). Innermost Asia, vol. 1, fig. 275: 'Stucco images of Buddha and Bodhisattva, flanked by bronze statues of seated Arhats (restored), in Ta-ssu-miao shrine, Nan-kou-ch'eng.' (I.A. Map 46, B3). Innermost Asia, vol. 1, fig. 276: 'Bronze statues of Arhats, largely restored with stucco, in antechapel of Ta-ssu-miao, Nan-kou-ch'eng.' (I.A. Map 46, B3). With fresco on wall in background. Innermost Asia, vol. 1, fig. 28: 'Wood-carvings at Ziarat of Dodo-kot, Darel. Standing within arcade is Shahid of Papat.' Close view of tomb, showing richly-carved wooden arcade, with Shahid, commander of the supporters of the Pakhtun Wali. (I.A. Map A). Innermost Asia, vol. 2, fig. 307: 'Ruined tombs at southern group, Kosh-gumbaz, Kara-khoja.' (I.A. Map 28, C3). Innermost Asia, vol. 2, fig. 308: 'Ruin of sepulchral sculpture, Kao. III, at Kosh-gumbaz, Kara-khoja.' (I.A. Map 28, C3). Innermost Asia, vol. 2, fig. 310: 'Northernmost group of ruined shrines in Toyuk Gorge.' (I.A. Map 28, D3). Innermost Asia, vol. 2, fig. 318: 'Remains of mural painting at head of colossal image of Buddha in Nirvana shrine xiii, Bezeklik.' (I.A. Map 28, C3). Innermost Asia, vol. 2, fig. 319: 'Mural painting showing colossal Buddha with figures of adoring Bodhisattvas, etc., Shrine iii, Bezeklik.' (I.A. Map 28, C3). Innermost Asia, vol. 2, fig. 330: 'Large mansion to west of main road in northern area, Yar-khoto.' (I.A. Map 28, B3). Innermost Asia, vol. 2, fig. 349: 'Ruined stupa, Ying. I. i, Ying-p'an site, seen from south.' (I.A. map 25, D3). Innermost Asia, vol. 2, fig. 409: 'Fort of Zulkhomar, Zamr-i-atish-parast, seen from south.' Innermost Asia, vol. 2, fig. 410: 'Ravelin with tower at north end of Citadel, Zamr-i-atish-parast.' Innermost Asia, vol. 2, fig. 411: 'Rampart and towers on north-west face of Qala-i-qa'qa.' Innermost Asia, vol. 2, fig. 413: 'Decorated wall on south-east face of circumvallation, Qala-i-qa'qa.' Innermost Asia, vol. 2, fig. 414: 'Ruined towers and wall on river front, Qala-i-Qa'qa.' View of part of ruined fortress, with river below. Inner surround of window. In ruinous condition, and much overgrown with vegetation. In ruinous condition.Duplicate of Photo 1002 (53). In ruinous condition. Small format print, amateur quality. In ruinous condition. Small format print, amateur quality. In ruinous condition. In ruinous condition. In ruinous condition. In ruinous state. Inscribed and sculptured stone. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cliv (d). Inscribed in pencil on reverse: '209 [corrected to] 219. The Kishin Sorabah Temple & Tank (Goverdhun).' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'W. Baker 219' in the negative, 212x158mm]. Inscribed in pencil on the reverse: 'Mehtar Mahal, Bijapur. Considered the architectural gem of the city. Internal details very beautiful especially the carved ceilings.'[Albumen print, 185 x 238 mm]. Inscribed pillars in foreground, looking towards shrine doorway, which has the figures of two elephants carved above the lintel. Inscription in the shape of a snake. Inscription on the tomb of Dorothea Sophia Hunter. Duplicate at Photo 1008/6 (771).[151x203mm]. Inscription over entrance gateway. Inscription over the tomb of Frances, wife of Henry van Mispelaar. Duplicate at Photo 1008/7 (774).[152x203mm]. Inscription over the tomb of Martinus Stoffenberg. Duplicate at Photo 1008/6 (777).[152x203mm]. Inscription reads: 'In loving memory of Lt Col Edward Malcolm Hughes, Commandant 14th Jat Lancers, who died at Basra 11th September 1916. Deeply mourned by then Regiment'. Inscription reads: 'Nawanagar State Forces for King & Country'. Inscription reads: 'To the memory of Lieut Colonel Lionel Herbert Showers, CSI, CIE, IA, Political Department Government of India. Born 16th June 1861. Died 2nd February 1916. Aged 54 years. For 3 years Resident at Jaipur. This tablet is erected as a mark of personal friendship and esteem by His Highness Maharaja Dhiraja Sir Sewai Madho Singh Bahadur, GCSI, GCIE, GCVO, LLD, of Jaipur'. In semi-ruinous condition, unnamed. In semi-ruinous condition, with strengthening to arches in place. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. In semi-ruinous condition. Inside view of North Gate during conservation. Compare with print 3311. In similar style to print 50. In some disrepair, with brickwork showing through stucco. This photograph also appears as plate 21 in F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). See Photo 998. Second copy negative at B.25612. Instantaneous snapshot of the durbar hall (see print 278), with group in foreground. Poor quality.[Albumen print, circular image, 62x62mm]. Interior, elevated view of the mosque, looking towards the entrance.[Albumen print, 383x308mm]. Interior, looking upwards and showing richly decorated walls and gallery. Interior, looking upwards towards dome. (Ancient Persis Map B2). Interior, showing Buddha images carved in relief on walls of cave. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (646). Interior, showing decorative wall painting and (?)tile work on wall, with scaffolding in place: 'A great part of the ceiling, especially on the north and east sides of the cloisters, and several of the deodar pillars are decayed, and will have to be completely renewed. The curious paintings on the west wall should be left as they are, and no attempt should be made to restore them. There is no necessity for keeping the scaffolding which was erected against the back wall of the mosque proper seven years ago and which is still standing in evident anticipation of repairs on this part of the edifice...' (Annual report, p. 29). Interior, showing details of plaster tracery in pendentives of dome. Interior, showing details of plaster tracery in pendentives of dome. Interior, showing rich wall decoration. Interior, showing sculptured pillars. Interior. Duplicate of Photo 1008/9 (2621).[203x151mm]. Interior. From east. Interior. Interior and exterior views. Interior before restoration. Interior colonnades in the Arhai-din-ka-Jhonpra Mosque. Photograph taken by Colin Murray for Bourne & Shepherd; it appears as plate 26 in James Burgess,'Photographs of architecture and scenery in Gujarat and Rajputana' (Bourne & Shepherd, Calcutta, Bombay and Simla, 1874): s ee Photo 970 (26).[Albumen print, 280x228mm]. Interior corner of (?east) wall of the Jahangir Mandir. Interior corridor in one of the Dilwara temples. Interior courtyard of the caravanserai, taken from a gallery. Interior courtyard of Yedikule Castle.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x200mm]. Interior in the Darya Daulat Bagh, one of Tipu Sahib's summer palaces, used by Wellesley as a residence after the capture of Seringapatam. Interior in the recently built government house. Interior of (?) mandapa, looking towards entrance to sanctuary. Interior of (?) mandapa, looking towards entrance to sanctuary. Interior of a bedroom. Interior of a bungalow. Interior of a bungalow. Interior of a damaged building. Interior of Adinatha temple showing carved columns. Interior of a furnished room. Interior of an eleborately painted hall. Interior of a room. Interior of a shrine or mosque? From east. Interior of boathouse showing dance floor. Inscribed on reverse 'Charlie's photo' (i.e. Charles Frederick Hunter).[Gelatin silver print, 135x78mm]. Interior of boiler house, showing machinery.[Silver developing-out print, 290x225mm]. Interior of building seen in prints 24-26. Interior of building seen in prints 24-27. Interior of cave temple, with columns with cushion capitals in foreground. Interior of chaitya hall (Cave 8), looking towards the votive stupa.[Albumen print, 228x177mm]. Interior of chamber of Iltutmish's Tomb, showing cenotaph in centre. Interior of Charles Stotherd's bungalow. Interior of cottage at Deoban, with man seated in front of fire reading. This is the same figure seen in the centre of the group in print 41.[Albumen print, 189x137mm]. Interior of courtyard of gurudwara, looking towards gateway. Interior of Curzon's room. Interior of dining room. Interior of drawing room. Interior of Durbar Hall.[Gelatin silver orint, 197x155mm]. Interior of E.H. Colebrook's bungalow. Interior of engine house, showing machinery.[Silver developing-out print, 290x233mm]. Interior of Government House, richly decorated in Islamic style. The room looks more like a drawing room rather than a dining room. Note by Bunting Dane on the reverse of print continues: 'This was built as a Mohamedan tomb but was said never to have been used for this purpose. In later years the expense of redecorating the arabesques led to much of the surface being painted over - but not in our time!' Murray's guide (1901 edition) notes that the house was originally the tomb of 'Muhammad Kasim Khan, cousin of the Emperor Akbar...his tomb used to be called Kushtewala Gumbaz, or Wrestler's Tomb.' Interior of hall, decorated in Chinese style. See also Mss Eur F225/45 (239-240).[Gelatin silver print, 290x238mm]. Interior of hall, showing columns with rich carved brackets. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2095). Interior of hall showing carved stone beams supporting the ceiling. Interior of house (?the ballroom) decorated in Chinese style for a social event, with a large cloth or paper dragon (presumably for use in a procession) in the foreground.[Gelatin silver print, 282x220mm]. Interior of Jalakanteshvara Temple. Interior of mandapa, looking towards sanctuary doorway. Interior of mandapa, looking towards shrine door. Interior of mandapa, showing sculptured ceiling and door to shrine. Interior of mandapa, showing sculptured columns, looking towards shrine doorway. Interior of mandapa, showing sculptured columns. With scaffolding visible beneath ceiling: 'When we were at Rajim workmen were in the temple mending the ceiling and whitewashing it, but it is to be hoped that they will not whitewash the pillars and sculptures. The interior was in a dirty mess and the whole place looked as if it were seldom used.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 26). Interior of mess. Interior of mosque, looking towards minbar (pulpit. Interior of mosque, showing wall niche indicating the direction of Mecca. Interior of mosque. Interior of mosque (under-exposed). Interior of mosque showing minbar (pulpit). Interior of Mumtaz Mahal, seen here in use as a museum. Interior of one of the Dilwara temples. Interior of Panch Mahal. Interior of Parshvanatha Temple showing ornate carved work. Interior of prayer hall. Print in poor condition, overall yellowing.[Printing-out paper, 322x259mm]. Interior of roofless hall, Gharib standing against wall with measuring pole. (Ancient Persis Map, A3). Interior of roofless hall. (Ancient Persis Map, A3). Interior of roofless tomb shrine. (Ancient Persis Map B2). Interior of room, furnished with rugs, cushions and a hookah. Interior of room also seen in prints 19-20, but looking in a different direction. Second copy at print 85.[Albumen print, 220x192mm]. Interior of Shiva cave temple. Interior of Shiva Temple. Interior of shrine, showing frescoes in poor condition. (I.A. Map 17, A1). Interior of shrine. Image spoilt by double exposure. (I.A. Map 28, C3). Interior of shrine with figures at prayer.[Gelatin silver print, 121x161mm]. Interior of sitting room of the military attach�'s house at Meshed.[Gelatin silver print, 78x102mm]. Interior of step-well, showing balustraded window. Interior of St John's Co-Cathedral. Interior of study. Interior of temple, with human figure standing above entrance.[Gelatin silver print, 55x78mm]. Interior of temple. View looking towards entrance of linga shrine, the doorway flanked by dvarapalas or guardian figures. The linga itself can be seen within the shrine. Interior of the Assembly Rooms, looking towards the billiards table at the far end.[Albumen print, numbered '3690' in the negative, 276x214mm]. Interior of the audience hall, showing marble and pietra dura work. Interior of the church. Interior of the Diwan-i-Am, with throne at left. Interior of the Diwan-i-Am. Interior of the Diwan-i-Khas, showing lavish inlay work. Interior of the Diwan-i-Khas, showing pietra dura work. Interior of the Diwan-i-Khas.[Silver printing-out paper, 152x102mm]. Interior of the durbar hall looking towards the dais. Reproduced as No 89 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Interior of the great Sasbahu temple. Interior of the hall, formerly the Audience Hall, looking towards the throne platform and punkah. For a similar view, taken a decade later, see Photo 212/2 (29). Albumen print, 352 x 261 mm. Interior of the Hammams or baths near the Diwan-i-Khas. Interior of the mandapa, looking along rows of columns.[Paltinum print, 285x240mm]. Interior of the mandapa, showing niche with surrounding carved work. Interior of the monastery cave, showing individual cells. Interior of the Nand Bhavan. Interior of the pavilion looking towards two of the tombs. Interior of the Sheesh Mahal, showing inlaid work. Interior of the Shish Mahal, showing mosaic walls. Interior of the Storrs-Foxes bungalow. Interior of the temple after restoration work, showing the fine carved work on the pillars after the whitewash and chunam had been removed. The modern lintels supporting the cracked ceiling were placed in position by General Cunningham in 1844. Reproduced in photogravure in Agra and Gwalior, H.H. Cole, 'Preservation of national monuments in India' (vol II, part 6, Agra and Gwalior), pl. 3 and there credited to Bourne & Shepherd. Interior of the temple after restoration work, showing the fine carved work on the pillars after the whitewash and chunam had been removed. The modern lintels supporting the cracked ceiling were placed in position by General Cunningham in 1844. Reproduced in photogravure in Agra and Gwalior, H.H. Cole, Preservation of national monuments in India (vol II, part 6, Agra and Gwalior), pl. 3 and there credited to Bourne & Shepherd. Interior of the tiled pavilion. Signed in the negative O.S. Baudesson 1882. Interior of the tiled pavilion. Signed in the negative O.S. Baudesson 1882. Interior of the Zeyrek Mosque, formerly the Church of the Pantocrator. Print in poor condition, with overall spotting.[Albumen print, 305x377mm]. Interior of Undeshvara Temple. Interior of unidentified Dilwara Temple (?Neminatha). Interior of unidentified pavilion. Interior of unidentified rock-cut temple. Interior of unrestored tomb. Interior of veranda.[Albumen print]. Interior of verandah of the summer palace, showing richly inlaid walls. Duplicate (later printing) of Photo 1000 (3096) Interior of vimana. Interior the Sabha Mandapa of the Jain Indra Sabha rock-cut temple, showing richly carved columns with cushion capitals and sculpture of the goddess Siddhaiki in the background.[Silver printing-out paper, 209x149mm]. Interior view, drawing room. Interior view, hall of columns. Interior view, looking along arcade. Interior view, looking along nave towards altar. Interior view, looking along rows of turning machines. Interior view, looking along the aisle towards the altar.[Albumen print, 180x237mm]. Interior view, looking along the chaitya hall at gallery level and showing the sculpture panels and vaulted ribs of the roof. Interior view, looking directly up towards the dome of the temple. Interior view, looking towards altar. Somewhat faded. Interior view, looking towards ceiling, and showing damage to roof. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 77. Interior view, looking up towards dome. Interior view, looking upwards towards dome. (Ancient Persis Map B2). Interior view, showing carved columns and toranas. Interior view, showing columns from an earlier Hindu temple used in the construction of the Arhai-din-ka-Jhonpra Mosque. Photograph by Colin Murray for Bourne and Shepherd. Interior view, showing decorative tile work. Interior view, showing decorative work on walls. Interior view, showing rolling machinery. Interior view, showing sarcophagus. Interior view, showing stalls in the recently completed building.[Silver developing-out paper, 293x234mm]. Interior view, similar to print 73. Interior view. A rather faded print. Interior view. Close-up of pillars and archway in pietra dura. Interior view. From north. Interior view. From south. Interior view. From south-east. Interior view. From west. Interior view. Print is slightly overexposed. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view. Interior view in the ruined mosque. Interior view looking across the court towards the (west?) gateway. Captioned in negative. Negative damaged along right-hand edge. Interior view looking across the court towards the gateway. Captioned in negative. Negative damaged along right-hand edge. Interior view looking along the colonnade. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 17. See also pl. 13 for a plan of the building, which shows more clearly the location of this photograph. Interior view looking along the water channel in the garden. Interior view looking down a row of columns to the Narasimha. Interior view looking towards altar. Interior view looking towards altar (of side chapel?). Interior view looking towards carved surrounds of shrine doorway. Interior view looking towards entrance.[Albumen print, 381x308mm]. Interior view looking towards minbar (pulpit). Interior view looking towards the raised platform (muezzin mahfili) on which the muezzin stands during the service.[Albumen print, 383x308mm]. Interior view looking towards tirthankara image, and showing ornate carved work on columns and brackets. India Museum no. 75. Duplicate of Photo 1000 (2069a). Interior view looking up towards an incomplete dome. Interior view looking upwards towards pendentives beneath dome. Interior view of arsenal. Interior view of chaitya hall (cave 8), looking towards votive stupa.[Lantern slide, 75X75 mm]. Interior view of cloister. From south. Interior view of cloister. Very poor quality print. From east. Interior view of Diwan-i-Khas, showing pietra dura work and pierced screen. Interior view of doorway. Interior view of doorway and gallery. Interior view of durbar hall, with European furnishings in the foreground and Flaxman's full-length statue of Raja Sivaji set into the wall in the background. Interior view of foundry. Interior view of Haghia Sophia, from the gallery. Interior view of Hagia Sophia (the apse). Print in poor condition, with overall spotting.[Albumen print, 304x372mm]. Interior view of hall. Interior view of holding pends for pigs.[Silver developing-out paper, 293x237mm]. Interior view of Jami Masjid, showing minbar or pulpit. Interior view of market, showing stalls in the recently completed building.[Silver developing-out paper, 293x233mm]. Interior view of mosque archways.[Lantern slide, 75X75 mm]. Interior view of one of the monastery halls: 'Some of the big halls are very strikingly decorated with coloured friezes of Buddha's life, or of Tibetan devils and spirits. There are literally hundreds of enormous gilded and jewelled idols in this Gompa, for each hall has twenty or thirty or more.' (Lhasa Mission Diary, 30 August 1936).[Gelatin silver print, 141x92mm]. Interior view of open-sided mandapa, showing carved columns. Interior view of portion of temple beneath one of the Muslim domes. Interior view of roofless hall. (Ancient Persis Map, A3). Interior view of ruined church, with shallow arch spanning foreground.[Printing-out paper, 272x222mm]. Interior view of shop, showing machinery. Interior view of slaughterhouse.[Silver developing-out paper, 289x240mm]. Interior view of the Diwan-i-Khas, with tables and chairs laid out at the far end. The hall was used for supper on the occasion of the state ball during the Delhi Durbar. Interior view of the Diwan-i-Khas. Interior view of the former Surrey Chapel, with boxing ring in the centre. The Surrey Chapel and The Ring stood on the site now occupied by Orbit House, 197 Blackfriars Road. See also Photo 275. Interior view of the hall, showing richly carved columns. Interior view of the horse mandapa in the Jalakanteshvara Temple. Poor quality photograph. Interior view of the jute pressing works. Interior view of the Khas Mahal? Interior view of the mausoleum. Caption notes read: 'There are three tombs; those of Haidar, Tipu, and Tipu's mother. Each is covered with a handsome gold embroidered pall. A tablet on Tipu's tomb has in verse the following expressions: - The light of Islam and the faith left this world; Tipu became a martyr for the faith of Muhammad; the sword was lost; the offspring of Haidar was a great martyr.' Duplicate at Photo 2/9 (27). Interior view of the mosque, liikong towards the gallery.[Albumen print, 391x304mm]. Interior view of the mosque, looking towards entrance.[Albumen print, 381x308mm]. Interior view of the mosque, looking towards mihrab (prayer niche) and minbar (pulpit).Print in poor condition, with overall spotting.[Albumen print, 307x372mm]. Interior view of the mosque, looking towards the entrance.Print in poor condition, with overall spotting.[Albumen print, 304x367mm]. Interior view of the mosque, looking towards the mihrab (prayer niche) and minbar (pulpit).[Albumen print, 381x305mm]. Interior view of the mosque in the Taj complex. Interior view of the mosque looking towards the mihrab (prayer niche) and the minbar (pulpit).[Albumen print, 302x370mm]. Interior view of the open-sided wood-built zayat or resthouse, with members of the Anglo-Siamese Boundary Commission. Photograph taken on 4 January 1890: 'Took one of interior of zayat, also view south' (Scott Diary, OIOC Mss Eur F278/4 f. 3). For another copy of this print, see Photo 92/2 (20).[Albumen print, 230x177mm]. Interior view of the roofless shell of an unidentified building in classical style, possibly a Portuguese building at Goa. With pairs of double columns flanking an archway at the left. Interior view of the ruined mosque, the dome open to the sky. Interior view of the ruined Portuguese church at Syriam. This photograph also appears as plate 30 of F.O. Oertel's Notes on a Tour in Burma in March and April 1892 (Rangoon, 1893). Interior view of the Sheesh Mahal? Interior view of workshop, with a line of locomotives under construction. Interior view of workshop, with completed guns laid out ready for final assembly.[Albumen print, 378x308mm]. Interior view of workshop.[Albumen print, 378x309mm]. Interior view of workshop.[Albumen print, 379x308mm]. Interior view showing bedroom. Interior view showing cusped arches. Interior view showing cusped arches and inlaid work on columns. Interior view showing decorative carving and niches in one wall. Interior view showing gallery and carved details of arches. Interior view showing pillars and sculpture. Interior view showing sculpture. Interior view showing the altar. Interior view showing the nave. Interior view with mihrab. From east. Interior view with three men at prayer. Copy at Photo 1002 (587). Interior wall and gateway in fort. In the courtyard of the Jami Masjid. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 51. In the form of a monster. In the preface to her book, Gardens of the Great Mughals, London 1913, Constance Villiers-Stuart writes: 'My grateful acknowledgements are due to Her Highness the Maji Sahiba of Bharatpur for her help in the matter of Hindu garden symbolism, and for the photographs of her Palace of Deeg'. In the preface to her book, Gardens of the Great Mughals, London 1913, Constance Villiers-Stuart writes: 'My grateful acknowledgements are due to Her Highness the Maji Sahiba of Bharatpur for her help in the matter of Hindu garden symbolism, and for the photographs of her Palace of Deeg'. Intricate carved work at base of minaret of the Nagina Masjid. Duplicate at volume 7, no. 823, of Archaeological Remains series. J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), p. 135: 'Next to it [the Kapileshvara Temple], and almost touching it, is another temple, which is exactly its duplicate in plan, but differs from it in having a pyramidal roof broken into steps instead of the tall tower roof; a plain square band runs round the walls of the temple; the plan is devoid of variety, but the elevation is relieved by bold horizontal lines, especially the roof.' J.D. Beglar, 'Report of a tour...in the Central Provinces', 1873-74 (A.S.I. vol. VII, Calcutta, 1878), p. 135: '...a large temple consisting of two distinct small temple, now connected together by a pillared hall; the hall is open all round to within a couple of feet of the floor, where runs the usual bench supporting the half or dwarf pillars that in their turn support the architraves and roof...' J.D. Beglar, Report of tours in the South-Eastern provinces un 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), p. 75: 'Half a mile to the east by a little south of the village is a stone temple, not quite prostrate; it is small, single-celled, and in the Barakar style; it has a sculptured door frame for the sanctum: the temple is Saivic.' Jagadevasah Temple: check with 1000 (387-8, 412-6). Jagannatha Dega Temple, with free-standing pillar in foreground. Jahangir Mandir at left, Raj Mandir at right. Jahangir Mandir at left, Raj Mandir at right. Jain carving along the rock face near the monolithic temple. Duplicate (later printing) of Photo 1000 (2987). Another copy at Photo 212/3 (7). Jain carving and inscriptions along the rock face. Duplicate (later printing) of Photo 1000 (2988). Another copy at Photo 212/3 (8). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), p. 59 (large coping fragment); remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2185). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. i. Same piece as print 2107, but on a smaller format negative. Duplicate (later printing) of Photo 1000 (2108). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. ix, 1. Duplicate (later printing) of Photo 1000 (2120). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. ix, 2. Duplicate (later printing) of Photo 1000 (2119). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. liv, 1 (bottom portion); and unpublished. Duplicate (later printing) of Photo 1000 (2145). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. liv, 6; xlii, 2; xliii, 4, 6 and 14. Duplicate (later printing) of Photo 1000 (2147). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. v, 1. Duplicate (later printing) of Photo 1000 (2110). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. v, 2. Duplicate (later printing) of Photo 1000 (2109). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. vi, part of 1; (?)second piece not illustrated. Duplicate (later printing) of Photo 1000 (2113). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. vi, part of 1; pl. xxiii, 2. Duplicate (later printing) of Photo 1000 (2114). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. vi, part of 2; pl. xlv, 6. Duplicate (later printing) of Photo 1000 (2112). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. vi, part of 2; pl. xxvii, 5. Duplicate (later printing) of Photo 1000 (2111). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. vii, 1. Duplicate (later printing) of Photo 1000 (2115). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. viii, 1. Duplicate (later printing) of Photo 1000 (2118). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. viii, 2. Duplicate (later printing) of Photo 1000 (2117). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. x, 1. Duplicate (later printing) of Photo 1000 (2121). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. x, back part of 2; xxx, 4; lii, 4. Duplicate (later printing) of Photo 1000 (2124). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. x, part of 2; xlv, 3; xxviii, 5. Duplicate (later printing) of Photo 1000 (2123). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xiii, 2; xxiii, 1. Duplicate (later printing) of Photo 1000 (2139). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xiii, 3 and 4. Duplicate (later printing) of Photo 1000 (2140). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xiv, 1; xxviii, 1. Duplicate (later printing) of Photo 1000 (2141). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xiv, 2; xxvii, 4; xxx, 2; xlii, 1. (?)Remaining two fragments unpublished. Duplicate (later printing) of Photo 1000 (2142). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xiv, 3; lii, 8; xlviii, 3; xlix, 7 (drawing); one unpublished. Duplicate (later printing) of Photo 1000 (2143). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xix, 1. Duplicate (later printing) of Photo 1000 (2159). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xix, 1. Duplicate (later printing) of Photo 1000 (2187). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xix, 2; lii, 6; fragment of rail pillar unpublished. Duplicate (later printing) of Photo 1000 (2160). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xix, 2 (large fragment); remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2188). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xl, 1; xliii, 3 and 5 ; liii, 1 (drawing). Duplicate (later printing) of Photo 1000 (2156). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xl, 2; xlvi, 1. Duplicate (later printing) of Photo 1000 (2195). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xl, 3; xlvii, 1. Duplicate (later printing) of Photo 1000 (2196). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xvii, 1; xlix, 2 (drawing). The detail on the rail disc is more clearly seen in print 2149. Duplicate (later printing) of Photo 1000 (2150). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xvii, 2; xix, 3; unpublished fragment; xlv, 9; xliii, 1; upper part of xli, 6. The dagoba carving is the upper portion of the slab seen at the right of print 2152. Duplicate (later printing) of Photo 1000 (2151). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xvii, 3 (rail disc); two unpublished pieces. Duplicate (later printing) of Photo 1000 (2153). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xvii, 4; lower part of xli, 6; xliii, 2 and 9. Duplicate (later printing) of Photo 1000 (2152). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xviii, 1 (rail disc); xix, 4 (rail disc); two unpublished pieces. Duplicate (later printing) of Photo 1000 (2154). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xviii, 2; xlvi, 3 ; liii, 1 (drawing). Duplicate (later printing) of Photo 1000 (2155). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xx, 1. This is the other side of the slab seen in print 2161. Duplicate (later printing) of Photo 1000 (2162). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xx, 2. Negative broken, only right-hand portion of image survives. Duplicate (later printing) of Photo 1000 (2161). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxi, 1. Duplicate (later printing) of Photo 1000 (2165). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxi, 2. Duplicate (later printing) of Photo 1000 (2163). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxi, 2. Duplicate (later printing) of Photo 1000 (2164). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxii, 1. Duplicate (later printing) of Photo 1000 (2168). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxii, 2. Duplicate (later printing) of Photo 1000 (2167). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxiv, 1. Duplicate (later printing) of Photo 1000 (2170). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxiv, 2. Duplicate (later printing) of Photo 1000 (2171). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxv, 1. Duplicate (later printing) of Photo 1000 (2173). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxv, 2. Duplicate (later printing) of Photo 1000 (2172). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvi, 1; small fragment unpublished. Duplicate (later printing) of Photo 1000 (2174).Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvi, 2; xxix, 3; and unpublished. Duplicate (later printing) of Photo 1000 (2175). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvi, 3; and unpublished. Duplicate (later printing) of Photo 1000 (2177). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvi, 4; xxvii, 1. Duplicate (later printing) of Photo 1000 (2176). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvi, 5; xxxi, 2; two pieces unpublished. Duplicate (later printing) of Photo 1000 (2178). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvi, 6. Duplicate (later printing) of Photo 1000 (2179). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvii, 2. Duplicate (later printing) of Photo 1000 (2181). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxvii, 6; and unpublished. Duplicate (later printing) of Photo 1000 (2182). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxviii, 3. Duplicate (later printing) of Photo 1000 (2183). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxviii, 6 (large fragment); remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2186). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxx, 1 (large fragment); and unpublished. Duplicate (later printing) of Photo 1000 (2189). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxx, 5; xliv, 8; remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2191). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxxi, 3; and unpublished. Duplicate (later printing) of Photo 1000 (2192). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxxi, 6; and unpublished. Duplicate (later printing) of Photo 1000 (2193). James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxxi, 7. Duplicate (later printing) of Photo 1000 (2194). Jami Masjid from the south-east. East gateway of mosque in the foreground. The main part of the sanctuary is largely obscured by the outer wall. Unsigned, but probably a Shepherd & Robertson photographs (360 in the Bourne & Shepherd catalogue). Jam Mizam-ud-din's Tomb. Jatayu and Ravana. Joins with print 249 to form a panoramic view. Joins with print 2 to form a panoramic view of fort and hillside. Kala and Kali on right side of chamber. Kartikeya seated on peacock at left, Ganesha on right. Kashmiri house overlooking the canal. Keshta Raya Temple, built in jorbangla or double-hut style. Krishna playing his flute. Kurma (Vishnu as tortoise) at right (negative damaged in this portion of print), Varaha (Vishnu as boar) at left, Kalki (future incarnation of Vishnu, on horseback). Lacking about a third of the relief. The carving depicts the visit of Udayana to his wife. Elliot (Madras) no. 109, Knox (1992) no. 24. Lacking statue, apart from feet. Lalgarh Palace under construction. lantern slide. Lantern slides Large Buddha image. Poor quality print. Large Buddha image. Large collection of sati stones of various sizes. Large domed tomb. From south-east. Large domed tomb. From south-west. Large format negative (at scale 1:5 from original) of disc also seen in print 2159. Duplicate (later printing) of Photo 1000 (2158). Large group of hermits' cells on hillside. Large industria premises, constructed largely from corrugated iron. Large iron cannon, inscribed 'Mandalay, Burma 1885-1886', with two pairs of iron carrying rings, mounted on an iron carriage. Photograph uncredited, but probably by Johnston & Hoffmann.[Silver printing-out paper, 322x187mm]. Largely overgrown by vegetation. Second copy negative at B.25607. Larger duplicate of Print 217. Larger duplicate of Print 221. Larger duplicate print at Photo 806/1 (22). Larger duplicate print at Photo 806/1 (23). Large-scale model of the palace at Mandalay, housed in an open-sided building. Large sculpture piece of Vishnu, with inscriptions on slab, standing in the open air with two other pieces, one of which is also seen in print 449. Large sculpture piece of Vishnu as a boar. This piece can also be seen leaning against the right side of the museum building in print 199. See note at print 199, where the sculpture is identified as coming from the Burgaon Tank. Large shrine on the platform of the Shwe Dagon Pagoda. Large single-storey bungalow. Caption notes read: 'Is well situated on rising ground at the east end of the town, and an extensive view of Mysore can be obtained from it. Originally it was the residence of Dr Campbell, Durbar Surgeon in Krishna Raja Wodeyar's reign, and was converted into a residency, in 1881, by Sir James Gordon,wo had occupied it when guardian to the late Maharaja'. Large statue of a seated figure. Probably by Nicholas Bros. Later annotation reads: 'prob. Dr Lacy's hse [because] of archery'; but this house is clearly not the same as that in Print 399. Another view of the house is at Print 388. Later print from an early (?) paper negative.[(?)Collodion printing-out paper, 233 x 179 mm]. Later print of a Bourne photograph of the Lawrence Military Asylum, with pupils playing croquet and dancing round a maypole in the foreground. Later view than Print 132. Latin inscription dated 1835 Lat or pillar mounted on a stone cairn. Lats at right, massive varaha statue at left. Left half of a two-part panorama. From east. Left half of a two-part panorama. Left half of two-part panorama. Left half of two-part panorama. Left-hand section of Arjuna's Penance sculpture. Duplicate (later printing) of Photo 1000 (3072). Another copy at Photo 212/5 (18). Left-hand section of four-part panoramic view, comprising prints 311-314. (Ancient Persis Map A2). Left-hand section of panoramic view of triple-shrined (Shiva?) temples on Hemakuta Hill. Right-hand section in print 708. Left-hand section of Saptamatrikas panel. Left-hand section of three-part panorama, comprising prints 446-448. Left-hand section of three-part panoramic view, comprising prints 127, 129 and 131. Innermost Asia, vol. 1, fig. 133: 'Panoramic view of interior of ruined Fort L.K., Lop Desert, taken from north corner. Remains of dwelling I in centre; timber debris of completely eroded large structure, III, in foreground; on extreme left quarters iii, iv in course of excavation; wind-erorded terrace on right marks western corner of circumvallation.' (I.A. Map 29, D4). Left-hand section of three-part panoramic view, comprising prints 330-332. This section shows the Potala with Sho (the enclosed quarter at the foot of the hill). Surely taken from Chakpori rather than Bar-ma-ri. Left-hand section of two-part panoramic view, comprising negatives 10-11. Duplicate negative from a nitrate original now destroyed: no print. Left-hand section of two-part panoramic view, comprising prints 119-120. Left-hand section of two-part panoramic view, comprising prints 157-158. Left-hand section of two-part panoramic view, comprising prints 163-164. Left-hand section of two-part panoramic view, comprising prints 200-201. Left-hand section of two-part panoramic view, comprising prints 221-222. Left-hand section of two-part panoramic view, comprising prints 25-26. (Ancient Persis Map, A3). Left-hand section of two-part panoramic view, comprising prints 258-259, showing convent buildings clinging to sheer rock face. Left-hand section of two-part panoramic view, comprising prints 63-64. Left-hand section of two-part panoramic view, continued in print 120. Innermost Asia, vol. 1, fig. 151: 'Main portion of Ya-men ruin, L.A. Station.' (I.A. Map 29, D3). Left-hand section of two-part panoramic view, continued in print 218. Innermost Asia, vol. 2, fig. 329: 'Structures excavated from clay terrace (zindan) and other ruins in southern area, Yar-khoto.' (I.A. Map 28, B3). Left-hand section of two-part panoramic view, continued in print 222. Innermost Asia, vol. 2, fig. 326: 'General view of northern area of ruined town of Yar-khoto, seen from south.' (I.A. Map 28, B3). Left-hand section of two-part panoramic view, continued in print 230. General view looking towards rock shrines. (I.A. Map 28, C3). Left-hand section of two-part panoramic view, continued in print 257. Left-hand section of two-part panoramic view, continued in print 383. The view shows the base of the monastery walls in the foreground, with the Dhamelh Stupa and the Jain Temple visible in the background. Left-hand section of two-part panoramic view, continued in print 385. Showing part of the base of the monastery walls. Left-hand section of two-part panoramic view, continued in print 60. Innermost Asia, vol. 1, fig. 131: 'Panoramic view of wind-eroded ground near ruined structures, N. LXIV, Niya site. Remains of structures, N. XLIV, on terrace on right; ground occupied by ancient vineyard on extreme left.' (I.A. Map 19, B1). Left-hand section of two-part panoramic view, continued in print 89. Innermost Asia, vol. 1, fig. 240: 'Circumvallation of Khara-khoto, seen from south-west.' (I.A. Map 45, C1). Left-hand section of two-part panoramic view comprising prints 17-18. Left-hand section of two-part panoramic view of Buddhist vihara or monastery, continued in print 223. Innermost Asia, vol. 2, fig. 331: 'Ruin of large Buddhist sanctuary, Yar. II, Yar-khoto, seen from south.' (I.A. Map 28, B3). Left-hand section of two-part panoramic view of site, continued in print 219. For an account of archaeological work carried out at Sarnath between January and March 1908, and illustrated in prints 218-346, see J.H. Marshall and Sten Konow, Excavations at Sarnath, 1908 (ASI Annual Report 1907-8 (Calcutta, 1911), pp. 43-80). This article uses many of these prints as illustrations and supplies a good deal of additional information of the sites and artefacts photographed. Left-hand section of two-part panoramic view of the palace from south, comprising prints 5-6. (Ancient Persis Map, A3). Left of panorama. Left portion of a two-part panorama. Left section of three-part panorama. From south-east. Left side of a panorama. Left side of a panoramic view. Left side of a panoramic view. Left side of a panoramic view of court. Left side of a three-part panorama. Left side of a two-part panorama. Left side of panorama. Left side of panorama. Left side of panorama. Left side of panorama. Left side of two-part panorama. From south. Left side of two-part panorama. From south-west. Leftt-hand section of two-part panoramic view, comprising prints 358-359. Letterpress continues: 'The bastion in the foreground is one out of about 46 bastions which occur at intervals along the Chanda City walls. These walls are about 7 1/2 miles in circumference. The overhanging foliage consists chiefly of tamarind trees. The stream in the foreground is the Jharpat river, which washes the Chanda walls for about two miles and then flows into the Virai'. Letterpress continues: 'There are four gateways and five wickets in the walls of Chanda. The Pathanpura Gate is the entrance from the south, and the view given above is taken from the outside of the City walls. The wooden doors as partially seen are very massive, and thickly studded with iron nails. On each side of the gateway is carved the crest of the Gond Kings, viz., a Singh or Griffin destroying an elephant'. With soldiers posed on the ramparts and the Union Jack flying above the gateway. Letterpress continues: 'These images are in the Koon-yum Temple next to the Five Storey Pagoda, they are made of bronze, and are worshipped by the Chinese.' Letterpress continues: 'The tombs of the Gond Kings are in a small enclosure connected with the City walls, and close to the eastern (or Achaleswar) gate of Chanda. They are the resting places of a long line of Gond Kings, the former rulers of Chanda, whose dynasty is believed to have commenced with Bhim Balal Sha, in A.D. 870, and to have terminated with the capture of Nilkant Sha in A.D. 1751 by Raghoji Bhonsla of Nagpur'. Letterpress continues: 'This shows the side view of this place of worship - it is one of the principal temples in the city, and when the Emperor visits Canton this is his place of residence.' Letterpress continues: 'This view shows a Chinese grave on the White Cloud Mountains - the small square place in front is where the coffin is placed, at the back of grave are two gates, the entrances - at the right and left are also burial places.' Letterpress continues: This minaret or steeple is at the Mahomet Temple, inside of which is their place of worship - it is a very old structure and has rather antiquated appearance about.' Letterpress description below the print reads: 'Padmarajiah, S.Y., Photo of Gomateswaraswami, one sheet, published by the author, Saligram, 2nd June 1906, [1st May 1908], size 10""x12"", First edition'. Letterpress description of the tomb below the caption. Letterpress description reads: 'Although there is some very good carving on the Bagh caves, the local rock is not suitable for sculpture. The whole surface of the caves, walls, pillars and ceiling was therefore plastered over and decorated with the sister art of painting. Most of the paintings have now been obliterated but what little remains testifies to the high water mark, which painting in India of the 7th century AD had attained. The Bagh Caves enjoy a world wide reputation for their paintings which are similar to the best at Ajanta'. Letterpress description reads: 'Close to the Alamgiri Gate, outside the Gwalior Fort, is the Jamah Masjid, a fair specimen of a late Mughal mosque. The main building was constructed in the time of Jahangir, a new end being added in 1665. It is illustrated in the accompanying photograph'. Letterpress description reads: 'Gwalior is indeed a sculptors' paradise with its noble monuments in sandstone and marble. This is very well seen in the chhatri or cenotaphs of the ancestors of the Ruling family, whose marble effigies are so life-like that dressed in their royal robes the princes appear to await the arrival of some guest of honour. The chhatri of Maharaja Jayaji Rao is the most pretentious in the group for its profuse and beautiful arabesque work carved in sandstone, which is illustrated in the opposite photograph'. Letterpress description reads: 'Situated at Udaypur, an old village (District Bhilsa), this large and beautiful temple of Siva which is one of the best in India and perhaps the best in Central India was built by Udayaditya, a Paramara king of Malwa, in the 11th century AD. As every part of the temple is carved with great precision and delicacy and the whole is almost perfect at the present day, there are few temples of its class which give a better idea of the style of mediaeval temple architecture in Northern India'. Letterpress description reads: 'Some of the numerous Muhammadan tombs at Chanderi possess ornamental stone carving of great beauty and variety of design. This photograph illustrates one of the best specimens'. Letterpress description reads: 'The accompanying picture presents an exterior view of the Gujari Mahal palace built by Raja Mansingh (15th century) for his favourite Queen Mriganayana who was a Gujari by caste. The Mahal is a two storeyed building of cut stone work 232 feet x 196 feet. Its plain and massive exterior is relieved by domed turrets, a line of gracefully carved brackets supporting the eaves and a few horizontal bands of carved moulding once inlaid with enamelled tiles. The interior is a spacious open courtyard surrounded by rooms presenting a variety of designs in their carved brackets and arched door frames. The Archaeological Museum consisting of ancient sculptures, inscriptions, pictures and other antiquities collected from all parts of the State is now housed in this building'. Letterpress description reads: 'The Buddhist Caves at Bagh, District Amjhera, are perhaps the most interesting among the existing archaeological monuments in Gwalior State. They are about 95 miles by metalled road from Indore or Mhow. They date between the 5th and the 7th centuries AD. A hill side looking on a picturesque valley of the Bagh river is carved into a series of huge halls lined with rooms to serve as dwellings and worship shrines for Buddhist monks'. Letterpress description reads: 'The huge monolithic pillars were lying scattered half burried[sic] in earth in a field at Sondni near Mandasor. They are now picked up and arranged properly on a strong masonry platform. Excavations of the surrounding ground disclosed inscriptions reciting the glories of king Yasodharman who flourished in the middle of the sixth century after Christ and who expelled the white Hunas out of Central India. These pillars would appear to have been set up by Yasodharman to commemorate his victory over the Hunas'. Letterpress description reads: 'The Jaivilas Palace, the residence of Maharaja Scindia was built in 1872-74 in the reign of Maharaja Jayaji Rao. It was designed by Sir Michael Filose and constructed under his supervision. The first storey is of the Tuscan, the second of the Italian Doric and the third of the Corinthian order of architecture. The grand Darbar Hall, one of the finest in the world, is painted with gold leaf, hung with wonderful chandeliers and decorated with enormous mirrors. The way up to the Hall is on a grand crystal staircase'. Letterpress description reads: 'The largest and perhaps the most splendid work of the late Maharaja Madhav Rao at Shivpuri was the construction of the chhatri of his dear mother to whom he was so deeply devoted. Advantage is taken of a beautiful old tank on the east bank of which the cenotaph is built. The approach lies through a fine gateway and a magnificent garden in the Mughal style, specially laid out. The late Maharaja's own chhatri in snow-white marble decorated with pietradura has since been constructed on the oposite bank of the same tank'. Letterpress description reads: 'There are in India twelve great seats of the worship of Siva and the Mahakal of Ujjain is one of the oldest and most famous. It attracts annually thousands of pilgrims from all parts of India and on the occasion of the Bathing Festival Simhastha which comes off once in twelve years, the number of pilgrims runs into lacs. The ancient temple fell a victim to the iconoclastic fanatacism of early Muhammadan invaders. The present temple which marks the site of the old one is an 18th century edifice, the work of a Brahmin Diwan of Ranoji Rao Scindia, the founder of the present Ruling dynasty of Gwalior. The precincts of the temple have been cleaned up and greatly improved in recent years'. Letterpress description reads: 'These caves excavated in a hill known as Udaygiri, in Gwalior State and can be visited either from Bhilsa or from Sanchi. The group consists of 18 Hindu and 2 Jain caves of the 5th century after Christ. The caves bear three contemporary inscriptions referring to the Emperors Chandragupta and Kumargupta and possess some beautiful sculptures of the golden age of the Indian plastic art, representing gods and goddesses of the Hindu Pantheon. The colossal image of Varaha (the Boar incarnation of Vishnu) seen in this photograph is perhaps the largest and finest of its kind found anywhere'. Letterpress description reads: 'The subject of this picture is the eastern facade of the famous palace of Raja Mansingh (1486-1516) which Fergusson described as ""the most remarkable and interesting example of a Hindu palace of an early age in India"". The vast eastern front of the palace which measures 300 feet in length and about 80 feet in height is relieved at regular intervals by six round towers of singularly pleasing design crowned with domed cupolas. The exterior and interior faces of the palace are decorated with rich carving inlaid with coloured tiles'. Letterpress description reads: 'The temple known as Telika Mandir is the loftiest of all the existing buildings on the Gwalior Fort, being over 100 feet in height. It is a 9th century Vishnu temple peculiar in plan and design. The form of its Sikhara or spire is Dravidian, common in Southern India, while all the decorative details are Indo-Aryan, characteristic of Northern India. It is thus an interesting example of Temple Architecture where both the Dravidian and Indo-Aryan styles meet. The Dravidian element in the design of this temple, supplies clues to the right explanation of its name. The original name seems to have been Telangana Mandir, so called from the Dravidian form of its spire, Telangana meaning Telegu country. Teli-ka Mandir is a subsequent corruption of Telangana Mandir'. Letterpress description reads: 'This fine gateway is a remnant of a large 10th century Hindu temple. The temple has disappeared but a part of its plan and a number of beautiful carvings and sculptures have been discovered in excavations. Judged from these, the temple appears to have been dedicated to Brahma, Vishnu and Siva'. Letterpress description reads: 'This is a richly carved ceiling of the entrance porch of a 10th century Hindu temple at Surwaya near Shivpuri, the autumn capital of Gwalior Government. The whole piece measures over 10'x8' and is in only two pieces of stone. The central pendent has fallen away leaving a blank hole in the centre. At the bottom is a row of female musicians giving a performance'. Letterpress description reads: 'This is a typical door-frame of a mediaeval (10th century) Hindu temple at Surwaya near Shivpuri, the autumn capital of Gwalior Syay Letterpress description reads: 'This monolithic pillar locally known as Kham-Baba is situated near the confluence of the Betwa and the Bes rivers at Besnagar (Bhilsa). A contemporary Brahmi inscription on the pillar records that it was erected in honour of God Vasudeva (Vishnu) by Heliodoros, a Greek ambassador of Antialcidas of Takshasila (Taxila in the Punjab), at the court of Bhagabhadra of Vidisa (Bhilsa), about 150 BC. Heliodoros seems to have embraced Hinduism as he styles himself a Bhagavata (ie, a follower of a Hindu sect of that name). This is the only lithic record mentioning the Indo-Greeks and is of considerable importance also in the religious history of ancient India in as much as it shows that in those days Hinduism was not exclusive and admitted outsiders into its fold'. Letterpress description reads: 'This picture represents the tomb of Muhammad Ghaus, a well-known Muhammadan saint and a contemporary of Babar, Humayun and Akbar. The tomb stands about a quarter of a mile to the east of Gwalior Fort and is an interesting example of Early Mughal Tomb Architecture. On plan it is a square measuring 100 feet each way exclusive of the hexagonal towers which are attached to the angles. The chamber of the tomb itself is a hall 43 feet square with the angles cut off by pointed arches so as to form an octagon on which the dome rests. Around this square building is a gallery 20 feet wide enclosed on two sides by a screen of the most exquisite tracery in pierced stone work with a projecting porch on each face'. Letterpress description reads: 'Ujjain was the chief centre of ancient Indian Astronomy. It is the Greenwich of India. The observatory at Ujjain is one of the five built by Maharaja Sawai Jaisingh of Jaipur who was a great scholar and astronomer. The special feature of these observatories is that they represent what may be called the stone age of Indian Astronomy, the instruments being constructed almost entirely of stone masonry. The Ujjain Observatory consists of Four Yantras or instruments three of which Samrat, Digamsa and Dakshino-vritti are seen in the opposite photograph. The Observatory is a living institution and is doing useful research work'. Library designed by Major C. Mant. Line carving of Buddha image. Line of cenotaphs in cchatri form outside Sirohi near the Sarneshwar shrine. Line of horsemen (presumably the Regent and entourage departing for Samye) passing through the Pargo Kaling Gateway. The gate, in the form of a chorten or stupa, stands to south-west of the Potala.[Gelatin silver print, 105x152mm]. Line of standing stones. Linga, with figures carved on the faces of the base. Linga and yoni on a brick platform, with a banyan tree beyond, and the towers of the Lingaraja Temple visible in the distance.[Gelatin silver print, 280x196mm]. Linga with Ravana as devotee of Shiva, offering his head as sacrifice. Links with print 18 to form a panoramic view of the monument.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Links with print 19 to form a panoramic view of the monument.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Lintel slab carved with representation of Lakshmi and other figures. Lintel slab carved with representation of Lakshmi and other figures. Lintel with carved decorations. Listed by Bloch as: 'Statue of four-armed goddess with two elephants above (Lakshmi); a slab with busts of one male and two female figures; fragments.' Local craft in foreground. Long, plain single storey building. Looking across a pool in an enclosed garden, with a fountain in the form of a chhatra. (?Possibly in the Samor Gardens). Looking across the Auguri Bagh (Grape Garden) towards the Khas Mahal hall. Looking across the courtyard towards the screen of the Moti Masjid. Looking across the lake towards the pedimented facade of the south front. A late print (1890s) of a Bourne photograph. Looking across the lawn towards the entrance. Looking across the tank towards the Sikh Temple. Looking along aisle towards the Buddha image sculpted in relief on far wall. The European figure posed half-way along the colonnade is possibly Cousens himself. Platinum print. Photo 40 (16) is an albumen print from the same negative. Looking along aisle towards the Buddha image sculpted in relief on far wall. The European figure posed half-way along the colonnade is probably Cousens himself. Photo 1000/8 (879) is a platinum print from the same negative. Looking along an aisle of the Pudu Mandapa in the Minakshi Sundareshvara Temple at Madurai. The Shiva figure in the background can be seen in close-up at Photo 212/1 (32). Looking along main fa�ade of temple mandapa, with pillars carved in the form of rearing horses and other mythical animals. Duplicate (later printing) of Photo 1000 (2978). Another copy at Photo 212/2 (38). Looking along side of Trinity Church, with the compound at the right. Looking along the fa�ade, showing carving and moulding detail: '...A view of the base of the southern vimana, with the lower part of that in the re-entering angle, between it and the porch...' Duplicate (later printing) of Photo 1000 (3123). Another copy at Photo 212/6 (25). Looking along the formal garden and pool towards the building. Looking along the garden towards the marble arch or hindola or swing which stands in front of the Gopal Bhavan, and was brought to Dig from Delhi by Suraj Mal as a spoil of war. The swing can also be seen at the extreme right of print 37. Duplicate at Photo 430/27 (27). Looking along the hall towards the throne. Looking along the heavily-timbered hall towards the staircase. Looking along the length of the verandah towards the side shrine at the far end. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2102). Looking along the main fa�ade of Viceregal Lodge towards the porte-coch�re. Stereoscopic pair. Looking along the moat and showing the city walls on the far side. This view probably looks south along the east side of the city. Looking along the moat and showing the city walls on the far side. This view probably looks south along the east side of the city. Looking along the northern colonnade of pillars from the original Hindu temple, later incoprorated into the Quwwat-ul-Islam Mosque. Looking along the wall of the fort towards the gateway. Looking along wall towards Iltutmish's Tomb. Looking back from the Vicreoy's House across the Great Court. Looking directly upwards towards centre of dome. Looking down from a hillside onto the colonnades of the bazaar running eastwards from the Virupasha Temple complex. Duplicate (later printing) of Photo 1000 (3152). Another copy at Photo 212/7 (14). Looking down into the square brick relic chamber. Looking down onto the river from an upper level of the Taj.[Lantern slide, 75X75 mm]. Looking into the interior of a hall. Looking north-eastwards across the garden. Looking onto exterior of mosque and surrounding buildings across the river.[Lantern slide, 75X75 mm]. Looking through a gateway towards the Hiran Minar. Looking through pointed arch towards Iron Pillar. Looking towards a pavilion in the Shalimar Bagh. Looking towards Buddha image in bhumisparsa mudra. Plate 35 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Looking towards doorway of the mandapa, flanked by guardian figures with elaborately carved costumes; with free-standing shrines on either side of the steps in the foreground. Duplicate (later printing) of Photo 1000 (3117). Another copy at Photo 212/6 (19). Looking towards gateway. Looking towards gateway of the walled town. Looking towards Iltutmish's Tomb. Looking towards massive stone stairway leading up to Rohtasan Temple at right; the small Harish Chandra's Temple at the left. Looking towards statue of Lord Clive.[Platinum print.] Looking towards temples spread out over the plain, with European figure, possibly Oertel, seated on wall in foreground. Plate 23 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Looking towards the choir and altar. Looking towards the Osmania General Hospital, another Indo-Saracenic design by Vincent Esch, here seen with domes still clad in scaffolding. A formal garden is laid out in the foreground. Looking towards the pool in the centre of the garden. Looking towards the staircase, showing the teak-panelled walls and pillars. Part of the Viceregal howdah can be seen at the left of the print. Looking towards the steps leading to the the Pasupatinath Temple. Looking towards the three-headed Shiva panel in the Shiva Temple. Looking towards the two main pagodas of the 8th-century Shore temple. With the sea at the right. A modern note on the mount identifying the photographer as Alexander Rea is unconvincing. The prints appear to date from the 1860s (or possibly 1870s); Rea did not arrive in India until 1882. A view of the temple from a similar viewpoint, by an unidentified photographer, is laid down onto the frontispiece of M.W. Carr (ed), Descriptive and historical papers relating to the Seven Pagodas on the Coromandel Coast (Madras, 1869). Looking towards towards the triple-arched screen of the mosque. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 62-63: 'A mosque of unusual form of construction...situated in the fields at a little distance to the south-east of the Mihtar Mahall. The particular feature in which it differs from most of the mosques is the roof, rising to a long top ridge parallel to the face of the building. With the exception of a smaller mosque, more rudely constructed, to the west of this one, there is no other example of this style of roofing in Bijapur...' Looking towards towards the triple-arched screen of the mosque. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 62-63: 'A mosque of unusual form of construction...situated in the fields at a little distance to the south-east of the Mihtar Mahall. The particular feature in which it differs from most of the mosques is the roof, rising to a long top ridge parallel to the face of the building. With the exception of a smaller mosque, more rudely constructed, to the west of this one, there is no other example of this style of roofing in Bijapur...' Looking towards tower of central shrine. Looking up the terraces towards the house. Looking up towards chhatri on top of wall. lose-up view of carved frieze at entrance to Rani Gumpha cave temple. Lower half of sculpture slab, much damaged. Lower half of torso of human figure. Lower portion of the Iron Pillar, outside the Lat Masjid. Lower portion of tomb obscured by foreground vegetation. Low range of buildings in European style. Caption notes read: 'The courts of the district and sessions judge, the sub judge, and the munsiff are held in these buildings, which are built in the new portion of the city named Chamarajpuram after his late Highness.' Mackennal's full-length standing statue of George V.[Platinum print.] Magala is situated on the Tungabhadra River about midway between Hampi and Harihar. Magala is situated on the Tungabhadra River about midway between Hampi and Harihar. Mahabharata scenes carved on the north face of the mahamandapa. Mahadeva Temple at Trinetra, six miles north of Than.Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 240-241. Mahadeva Temple at Trinetra, six miles north of Than. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 240-241. Mahazedi Pagoda, showing restoration work in progress, with wooden scaffolding surrounding the newly-constructed upper portion. See Photo 242/1 (2) for an earlier view. Group of Buddhist monks posed in foreground (?with bier). Second copy neg at B.25652. Mahsud man with military escort of three soldiers of the Nepalese Rifles.[Gelatin silver print, 140x80mm]. Main building, framed by archway in foreground. Snapshot. Main building, largely obscured by trees. Poor quality snapshot. Main building from garden, largely obscured by trees. Poor quality snapshot. Main entrance from drive. Main entrance to mosque, with flanking minarets overgrown with vegetation. Duplicate at volume 7, no. 822, of Archaeological Remains series (Photo 1000 (822)). Photograph possibly by D.H. Sykes. See also Photo 1000 (1856). Main facade from the street. Duplicate at Photo 10/6 (30). Main facade from the street. Duplicate at Photo 17/3 (25). Main facade from Trumpington Street. Main facade of the classical building, with a large tank in the garden in front. The buildings comprising the Chowmahalla formed the Nizam's principal palace. Main facade of the college, built in Gothic style between 1847-52 to the designs of Markham Kittoe. Duplicate at Photo 10/6 (32). Main facade of the college, built in Gothic style between 1847-52 to the designs of Markham Kittoe. Duplicate at Photo 17/3 (27). Main facade of unidentified bank next to the Port Commissioner's Office. Main fa�ade from the lawn. Main fa�ade of Nawab Isa Khan's Tomb. Main fa�ade of the Hawa Mahal from the street. Stereoscopic view. Main fa�ade of the Residency from the garden. Mainly showing Temple No. 2. Temple No. 1, at the left, is largely out of the photograph.Duplicate of Photo 1002 (16). Mainly showing the roof, with only part of the fa�ade itslef visible. Male figure on balustrade, style of the Kushan period. Mandapa and gopura of the Parthasarathi Temple Mandapa and gopura seen in print 15, viewed from side. Mandapa and nandi pavilion in the foreground, with sanctuary tower beyond. Mandapa in foreground, sanctuary beyond. Bengal list pp. 530-531. Mandapa in foreground, with sanctuary tower beyond. This print appears as pl. 24 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466), captioned, 'Parusramesvar, south-west, in disrepair.' Mandapa in semi-ruinous condition. Poor quality photograph. Mandapa of rearing horses at the temple at Sakkandurmali near Madurai. For an earlier view, see Photo 212/2 (38). Negative marked up for cropping. Original and duplicate negatives only, no print. Mandapa with richly-carved columns in the Vitthala Temple, similar to print 3158. Duplicate (later printing) of Photo 1000 (3159). Another copy at Photo 212/7 (21). Mandapa with richly-carved columns in the Vitthala Temple. Duplicate (later printing) of Photo 1000 (3158). Another copy at Photo 212/7 (20). Manmandir Ghat with Observatory buildings beyond at head of steps. Mansion with ornate sculptural decoration, on the Sweet Waters of Europe (?Kagithane River).[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x198mm]. Marble cross with figure of winged infant. Marble floor of vestibule of Ranjit Singh's Tomb. Marble image of Adinatha, the first of the 24 Tirthankaras of the Jains. Another copy of this print at Photo 1000 (740). Marochetti's marble statue, seen from the entrance. Bourne No.1206. Marriage of Shiva and Parvati. Marriage of Shiva and Parvati. Mary Ramsden in the garden of the District Officer's bungalow. Massive boulder in which a portico has been excavated, with the surrounding rock-face carved into the form of a ring of yali ('tiger') heads. To the left are carved two elephants, with niches above. Printed from a broken glass plate. Massive boulder in which a portico has been excavated, with the surrounding rock-face carved into the form of a ring of yali ('tiger') heads. To the left are carved two elephants, with niches above. Printed from a broken glass plate. Massive column supporting the deeply overhanging roof, with carved panels. Massive gateway in the palace. Massive gopura at the east entrance of the Minakshi Sundareshvara Temple, directly opposite the Pudu Mandapa. Duplicate (later printing) of Photo 1000 (2939). Another copy at Photo 212/1 (40). Massive image of recimbent Buddha. Massive marble tomb made in Rome. The Begam is seated at the apex of an ascending collection of figures, including angels and, on the platform immediately below the Begam, an Indian figure and a European (David Dyce Sombre?). Massive octagonal domed structure. Record no. 242 in Delhi Province. List of Muhammadan and Hindu Monuments (vol. II, Delhi Zail, Calcutta, 1919), p. 180. Massive seated image of Buddha in Bhumisparsa mudra. This sculpture is also seen in a similar photograph at print 535. Massive stone images. The boar is Varaha, an avatar of Vishnu. Massive trabeate temple gateway standing in field. Print in poor condition. Duplicate (in better condition) at Photo 2/3 (131). May be a hostel for students?[Platinum print.] May well be a copy of a much earlier photograph. Medallion carved with female figure set within floral design. Faded print. Medallion carved with figure and floral motifs. Broken and repaired. Medallion carved with monkeys seated on elephant. Faded print. Medallion fragment carved with foliate forms. Memorial designed by Sir Edwin Lutyens, the statue by C.S. Jagger. Memorial designed by Sir Edwin Lutyens, the statue by C.S. Jagger. Memorial designed by Sir Edwin Lutyens, the statue by C.S. Jagger. Memorial to John Bell Memorial to Sir Louis Cavagnari and officers and men of the Corps of Guides who died at Kabul in September 1879. The memorial is in the form of an Indian arched gateway. Memorial to the Russo-Japanese War of 1904-05. Middle section of the Qutb Minar. Middle section of three-part panorama, comprising prints 446-448. Middle section of three-part panorama. From south-east. Middle view of a three-part panorama. Minar with relief carvings. Miniature stupa, inscribed, with carved female figure in niche. Miniature stupa in archaeological Museum. Miscaptioned. Sultan Khusru's Tomb is close by to this. Miscellaneous architectural fragments, from a stupa. Miscellaneous architectural fragments, from stupa. Miscellaneous architectural fragments. Miscellaneous architectural fragments. Miscellaneous architectural fragments. Miscellaneous architectural pieces, numbered in the negative. Miscellaneous collection of fragments. Miscellaneous collection of sculpture slabs leaning against wall. Miscellaneous fragments, mainly figure sculptures from a stupa. Miscellaneous fragments. Miscellaneous fragments. Miscellaneous fragments laid out on ground. Miscellaneous fragments laid out on ground. Miscellaneous group of objects: Buddha images, precious stones, etc.[Gelatin silver prints, 80x56mm]. Miscellaneous Jain sculpture fragments. Miscellaneous pieces, numbered in the negative. Miscellaneous pieces. Miscellaneous pieces of Hindu sculpture. Miscellaneous remains, including a stone lion. Miscellaneous sculptural and architectural fragments. Miscellaneous sculptured fragments. Miscellaneous sculpture fragments. Miscellaneous sculpture pieces. Miscellaneous snapshots, with two better quality views of Amber. Miscellaneous snapshots of buildings, temples, tombs, etc., at: Nasik (530-532), Khusrau Bagh, Allahabad (533), unidentified (534-535), Shaikh Salim Chishti's Tomb, Fatehpur Sikri (536), New Delhi (537-538), building between Agra and Delhi (539-540), Museum at Sarnath with Dhamekh Stupa in the distance (541), Agra (542-546), Amber (547-548), Jaipur (549), Udaipur (550-551), Ajmer (552-554). Miscellaneous snapshots taken during Sir Thomas Carmichael's short period as Governor of Madras in 1911. Prints include snapshot portraits of Lady Carmichael, views of Government House, Guindy, Government House, Madras, the Banquetting Hall, Madras, Private Secretary's house, Madras. Miscellaneous stupa fragments. Miscellaneous stupa fragments with bas reliefs. Miscellaneous stupa fragments with bas reliefs. Miscellanous fragments, mainly stupa pieces carved in relief with Buddhist themes. Including a pillar capital with Ionic volute. MISSING Model of building and gardens. Print in poor condition, with many folds.[Gelatin silver print, 318x194mm]. Modern copy print. Modern copy print. Modern duplicate negative from nitrate negative now destroyed: no print. Modern duplicate negatives from nitrate negatives now destroyed: no prints. A few landscape views, but the majority good quality street scenes and architectural in Allahabad, including general and interior views of the ceiling of Sultan Nithar Begam's Tomb in the Khusru Bagh. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Architectural views, mainly of the Taj Mahal.. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views, mainly architectural, including Qutb Minar, Tughlaqubad, and two views of the Hugli at Calcutta. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views, mainly architectural, tombs. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views and architecture at Sasaram, including the Tomb of Sher Shah Suri and other remains. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views in Fort, architecture, including view view of Mutiny Memorial. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views of buildings, gardens and cemetery. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Landscape and architectural views of the hill fort. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Mainly architectural and lakeside views at Udaipur, with one view of the Dilwara Temple at Abu and one view of Chittaurgarh. There is also one view (59) of food sellers on a station platform, with a Bombay-Baroda & Central India Railway carriage behind. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Miscellaneous views, mainly architectural. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views mainly of temple architecture (Minakshi Sundareshvara Temple), poor quality, many of negatives damaged. Modern duplicate negatives from nitrate negatives now destroyed: no prints.Views of architecture in Lahore and landscape in the Salt Range. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views of Tomb of Sher Shah Suri, street scenes, unidentified bungalow and brick colonnade, tank, step-well. Modern film duplicate negatives of nitrate originals now destroyed. Topographical views at unidentified locations, including some views of temple architecture (possibly Khajuraho) and river scenes. Negative series B.1.1-B.5.6. Modern gates built by the Archaelogical Survey of India. From south-east. Modern print from original glass negative. General view of brick bungalow, with corrugated-iron roof. A similar view of the building can be found at Photo 527/1 (66). Modern print from original glass negative. Jain temple in formal garden. This view looks across ornamental pool and terrace with its mass of sculpture in Italianate style. Modern print from original glass negative. Modern print from original glass negative. The view shows an unidentified house, presumably in the Botanical Gardens. Note the portable dark tent just visible in the shade of the tree left of centre. Modern print from original glass negative. View looking across the Dalhousie Tank towards the Post Office. Contemporary print from this negative at Photo 527/1 (90). Modern print from original glass negative. View looking along the nave towards the choir and altar. With punkahs suspended above the seating. Modern print from original glass negative. View looking towards a thatched bungalow. Contemporary print from this negative at Photo 527/1 (101). Modern print from original negative. Monastery buildings, with tower on ridge beyond. Monastery buildings clinging to sheer rock face.[Gelatin silver print, 113x153mm]. Monastery buildings in foreground, with walled ridge beyond. Monastery buildings largely obscured by plantains in foreground. Monastery buildings on hillside. Monumental gateway or torii at entrance to shrine. Negatives marked up for cropping. Original and duplicate negatives only, no print. Monument in the form of an obelisk to naturalist and explorer Ferdinand Stoliczka, who died near Leh in 1874. More distant view of the Durbar Hall (or kacheri?), showing the building and garden, with part of the Kamra Palace at the left. Duplicate at Photo 430/27 (12). More distant view of the temple in Print 44. More distant view than print 17, showing two gateways. More general view of the panel in print 62. Mosaic of Christ and the Virgin Mary to the right of the entry to the nave from the inner narthex, Kariye Mosque, Istanbul.[Albumen print, 369x300mm]. Mosaic of Christ Pantocrator in the lunette over the Parecclesion entrance, Kariye Mosque, Istanbul.[Albumen print, 374x299mm]. Mosaic of Joseph and Mary registering at Bethlehem in the west lunette of the first bay in the inner narthex. Print in poorish condition, with overall spotting.[Albumen print, 374x310mm]. Mosaic of the Magi with Herod in the east lunette in the fourth bay of the outer narthex. Print in poorish condition, with overall spotting.[Albumen print, 371x309mm]. Mosaic of the Nativity in the east lunette in the second bay of the outer narthex. Print in poorish condition, with overall spotting.[Albumen print, 384x305mm]. Mosaic panel of St Paul to right of entry to nave from the inner narthex. Print in poorish condition, with overall spotting.[Albumen print, 305x368mm]. Mosaic panel of St Peter to left of entry to the the nave from the inner narthex. Print in poorish condition, with overall spotting.[Albumen print, 306x375mm]. Mosque in the Husainabad Imambara. Most of the richly-carved columns of this fa�ade are broken. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2103). Mounted cabinet size photograph of unidentified church buildings, possibly a mission hall. The photographer's signature states his location as Girgaum (in Bombay), so this picture is unlikely to show the Andaman Islands. Mrs Storrs-Fox standing in front of the bungalow. Mukteshvara Temple. Mukteshvara Temple with tank in foreground.. Murray is sitting against a wall in the centre of the print next to a group of Europeans and Indian servants.[Modern print from original waxed calotype negative, 349x271mm]. Murray is sitting in a doorway in the centre of the print.[Modern print from original waxed calotype negative, 359x268mm]. Naga sculpture, with Cambodian figure posed at base to indicate scale.*Extra print, not included in original published version.[Albumen print, 86x98mm]. Nakula Sahadeva Ratha at level, with stone elephant at right. Nandi pavilion in foreground, vimana of the Brihadishvara Temple beyond. Nandi pavilion in foreground, with gopuras beyond. Duplicate (later printing) of Photo 1000 (3039). Another copy at Photo 212/4 (21). Nandi pavilion in left background. Duplicate (later printing) of Photo 1000 (3116). Another copy at Photo 212/6 (18). Nandi pavilion with side view of stone bull, in the Brihadishvara Temple. Nandi sculpture in the Krishna Mandapa. Duplicate (later printing) of Photo 1000 (3074). Another copy at Photo 212/5 (20). Narasimha avatara of Vishnu on right wall. Nature of building unclear. Term Munzil or Manzil needs clarifying. Nawab Isa Khan's Tomb. Nearer view than Print 107. Near view. Duplicate at Photo 10/12 (13). Near view. Small faded print. Near view. Near view. Near view. Near view. Near view of the building in Print 80. Near view of the double-arched gateway. Near view of the dzong. This print is not reproduced in Tibet and Lhasa. Duplicate at Photo 430/53 (5). Near view of the facade. Near view of the gateway. Near view of the house shown in Print 13. Annotation on reverse reads: 'M. St Maurice, her cousin & a Russian princess. Near view of the Secretariat with the Council House in the distance. Near view of the tomb. NEGATIVE AND PRINT MISSING. Negative broken. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxi, 1. Duplicate (later printing) of Photo 1000 (2166). Negative broken. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xxiii, 4; xxxi, 1 and 4. Negative broken. Duplicate (later printing) of Photo 1000 (2169). Negative cracked in sky area. Negative cracked in sky area. Negative nos B.27783-27786. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative reference for this image is K.36.10, but the photograph appears to correspond to reference K.36a.3, as given above. Duplicate negative from a nitrate original now destroyed: no print. Negative reference for this image is K.36.11, but the photograph appears to correspond to reference K.36a.6 as given above. Duplicate negative from a nitrate original now destroyed: no print. Negative reference for this image is K.36.12, but the photograph appears to correspond to reference K.36a.5 as given above. Duplicate negative from a nitrate original now destroyed: no print. Negative reference for this image is K.36.7, but the photograph appears to correspond to reference K.36a.1, as given above. Duplicate negative from a nitrate original now destroyed: no print. Negative reference for this image is K.36.7, but the photograph appears to correspond to reference K.36a.4, as given above. Duplicate negative from a nitrate original now destroyed: no print. Negative reference for this image is K.36.8, but the photograph appears to correspond to reference K.36a.2, as given above. Duplicate negative from a nitrate original now destroyed: no print. Niche with relief carving of tree. Nirvana and other Buddha images. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (645). No 723 in the Baker & Burke catalogue. Photograph reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 94. No information on building supplied. Identification uncertain (cenotaph rather than temple?). Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. No information on building supplied. Identification uncertain (cenotaph rather than temple?). Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. No information on building supplied. Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. No information on building supplied. Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. No information on building supplied. Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. No information on building supplied. Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. No information on building supplied. Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. No information supplied. No information supplied. No information supplied. No references. No references. North-east view. North elevation of the Rani Sipri Mosque from the north-east. North end of the main front, showing corner tower and chhatri. Northern Circle (Agra Office) photograph No 5749. North face, partly obscured by trees in foreground. North-Western Provinces list, p. 124: '...In spite of its smallness, it is a fine building, as it is richly ornamented outside with two rows of sculptures, of which some are the usual naked standing figures of the Jainas, while the rest are Brahminical.' North-West Provinces list, p. 207: '...A handsome structure and one of the finest masjids in the whole city...the masjid is a mixture of three styles, namely Bauddha, Hindu, and Musalman. The first edifice was most probably a vihara with one or more temples attached.' North-West Provinces list p. 115: '...Close to the banks of the lake, is a small unique temple of the early Chandella period, measuring 15 feet by 12 feet, and built of massive blocks of grey granite without mortar. the temple proper consists of four small cells, each of which has a slightly ornamented door, and is capped with a kalasa resting on a low pyramidal row of stones. Over three of the doors is a small figure of Ganesha, whilst the fourth contains a figure of Durga. the portico in front of the temple is supported on five massive pillars, with cruciform capitals, topped by large architraves and massive slabs.' North-West Provinces list p. 116: '...The sanctum still contains a famous lingam of black basalt, called Guraiya Mahadeva.' North-West Provinces list pp. 115-116: '...at Bharauli, three miles south-east of Bhander, there is a perfect temple of the Chandella period, build of solid stone, mostly granite, the interior being elegantly carved with figures. In plan it is cruciform, and the centre is occupied by a lingam, whilst the arms of the cross are utilized as porches. The western entrance is elaborately ornamented, and the shafts of each side of the doorway leading to the sanctum are unique. The sanctum is roofed by a fine cusped ceiling supported on stone lintels carried on columns. The outside forms a shikara, and is crowned by a kalasa. The whole is in a fair state of preservation, and standing as it does between the defile of two rocks, looks very picturesque.' North-west view. Not 'A flank view of the Jumma Musjid' as stated in the caption. Not 'Neill's gate' as originally captioned. Copy of a photograph by Beato, retouched by Dannenberg. See notes with duplicate at Photo 254/1 (34). Not 'The Juma Musjid, Lucknow' as stated in the caption. Note below caption reads: 'For description see back of preceding plate' [no description exists]. Print is numbered 'No 10'. Note below caption reads: 'From a collodion negative, by H.H. Hinton, Esq, of Hornby Row Academy'. Print is numbered 'No 4'. The letterpress description provides a brief history of the church. Note below caption reads: 'From a collodion negative, by H.H. Hinton, Esq, of Hornby Row Academy'. Print is numbered 'No 5'. The letterpress description provides a brief history of the mosque. Note below caption reads: 'From a collodion negative, by Johnson and Henderson'. Print is numbered 'No 2'. Duplicate at Photo 620 (1). Note below caption reads: 'From a collodion negative by an Amateur'. Note below caption reads: 'Photographed by A.N.S.'. This is probably Allan Newton Scott. There is a letterpress description below the caption. Note below caption reads: 'Photographed by A.N.S.'. This is probably Allan Newton Scott. There is a letterpress description below the caption. Note below caption reads: 'Photographed by Johnson and Henderson', this is followed by a letterpress description of the view. Print is numbered 'No 2'. Note below caption reads: 'Photographed by Johnson and Henderson', this is followed by a letterpress description of the view. Print is numbered 'No 3'. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 14'. The letterpress description outlines the main elements of the view. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 7'. The letterpress description provides a brief history of the cathedral. Note on page refers to 'Public letter from the Govt. of India to the Secty. of State, no. 53 of 24 June 1869.' Received November 1869. India Museum no. 352. Duplicate of Photo 1000 (2237a). Note on page refers to 'Public letter from the Govt. of India to the Secty. of State, no. 53 of 24 June 1869.' Received November 1869. India Museum no. 353. Duplicate of Photo 1000 (2238a). Note on reverse of print reads: 'Presented to the Library of the India Office with accompanying 6 photographs by Colonel Alister W. Jamieson'. Note on reverse reads: 'Print supplied by Arch. Survey of HEH the Nizam'. Note on reverse reads: 'Put Gurkha Troops there to guard Attock bridge on Indus. Vital for India. Gurkha p[?] same as Tommy. Just as foreign[?] as we'. Note on reverse reads: 'View of Srinagar from 3rd bridge'. Note reads: 'A white marble tomb inlaid with mosaic'. Note reads: 'The Kutub Minar said to be the loftiest column in the world stands about 11 miles from Delhi. It is divided into five stories by heavy balconies, the three first are built of fine red sand-stone, the two last principally of white marble'. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (638). Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (660). Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (663). Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (667). Not the 'Jumma Musjid' as captioned. This is probably a copy of a Beato photograph that has been trimmed and touched up to alter its appearance. See notes with Print 14. Not the same building as seen in prints 1933-1935. Not the same building as seen in prints 1933-1935. Now in the Indian Museum, Calcutta. Now Mahatma Gandhi Hall, also popularly known as the Clocktower. Numbered '10' in pencil in top right-hand corner of print. Published as plate 87 of Taylor and Fergusson, 'Architecture in Dharwar and Mysore' (London, 1866). Sirhatti is situated some ten miles north-east of Lakshmeshwar. Another copy at Photo 1000 (1038).Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 151. Numbered '11' in pencil in top right-hand corner of print. Variant of plate 47 of Taylor and Fergusson, 'Architecture in Dharwar and Mysore' (London, 1866), showing the partially buried temple from a slightly different angle. This is presumably the structure described in Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 132: 'Fine, large old temple of Rangasvami, usually called Arvattukhambada-basti or temple of sixty columns, partially ruined, and a good deal buried in rubbish.' Another copy at Photo 1000/10 (1033), where it is incorrectly identified in Bloch's list as the Tarakeshvara Temple at Hangal. Numbered '8' in pencil in top right-hand corner of print. Reproduced as plate 49 of Taylor and Fergusson, 'Architecture in Dharwar and Mysore' (London, 1866). Another copy at Photo 1000 (1024), where it is incorrectly identified in Bloch's list as the Hoysalesvara Temple at Halebid. This is probably the Somesvaradeva Temple: see Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 150. Numbered '9' in pencil in top right-hand corner of print. General view of the exterior of the mosque. Published as plate 74 of Taylor and Fergusson, Architecture at Beejapoor (London, 1866), where it is incorrectly identified as Mosque of Musaood Khan, at Adoni. For illustration and description, see Henry Cousens, Bijapur and its architectural remains (Bombay, 1916), p. 69 and pl. 41. Obelisk raised to the memory St John Thackeray, Collector and Political Agent, Southern Mahratta Doab, and killed in the rebellion at Kittur in 1824. Obelisk with spiral fluting and garland. This photograph shows the tomb newly-restored (probably at Lord Curzon's instigation). Oblique general view of gopura. Oblique general view of the fa�ade, in ruious state. Bengal list, pp. 438-439; see also, Alexander Cunningham, 'Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882), pp. 61- 62. Oblique view, looking along arched fa�ade. Oblique view, looking along the colonnade towards the entrance. Not duplicated in India Office Series. India Museum No. 529b. Oblique view, looking along the fa�ade of the building.[Albumen print, 193x235mm]. Oblique view, poorish quality. Oblique view, showing details of mouldings. Oblique view, showing details of mouldings. Oblique view. Oblique view along fa�ade. The attribution to Cole is probably incorrect. Oblique view along main fa�ade of house. Oblique view along the facade of the tomb.[Albumen print, 278x218mm]. Oblique view from right. Oblique view from street looking along the fa�ade of the hospital.[Albumen print, 373x305mm]. Oblique view from the left. Oblique view from the left. Oblique view from the left of the arched gateway, with another building (unidentified) beyond: 'Proceeding northward from the Baishazari, we arrive at another smaller endowment, called te Chhye Hazari (or 6000 bighas), which was founded to commemorate the saint Nur Qutb Alam. A handsome gateway on the left was the entrance to the saint's dwelling...South of the house is a large square enclosed space, about 1000 yards in measurement each way, within which are some interesting tombs in good preservation, though not kept up to the full extent of the means of the endowment. These tombs fill the western part of the enclosure, while the eastern part is occupied by a brick tank.'[Woodburytype, 242x186mm]. Oblique view from the south-east, showing four of the sculptured pillars flanking the entrance to the mandapa. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. Oblique view from the south-east, showing four of the sculptured pillars flanking the entrance to the mandapa. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. Oblique view looking along base of fa�ade. Oblique view looking along base of fa�ade. Oblique view looking along exterior wall, carved overal in panels in five bands. Duplicate (later printing) of Photo 1000 (3144). Another copy at Photo 212/7 (6). Oblique view looking along fa�ade, with window in foreground. Oblique view looking along fa�ade. Oblique view looking along fa�ade towards temple vimana. Oblique view looking along front of house, with porch supported on wooden pillars. The Dekyilingka, the headquarters of the British Mission at Lhasa, was situated to the south-west of Chakpori hill (see frontispiece map to Hugh Richards, 'Ceremonies of the Lhasa Year', London, 1993). Oblique view looking along the arched fa�ade of the mosque. Oblique view looking along the colonnade. Oblique view looking along the facade of the cenotaph. Oblique view looking along the fa�ade of the double-storeyed colonnade of the temple enclosure. With a gopura in the background. Oblique view looking along the fa�ade of the double-storeyed colonnade of the temple enclosure. With a gopura in the background. Oblique view looking along the fort walls. Oblique view looking along the wall towards the gopura. Oblique view of doorway, with carved lintel incorporating naga design. Oblique view of east fa�ade from north-east. Oblique view of entrance, with figure posed at mouth of cave. Described in Rajendralala Mitra, Antiquities of Orissa (vol. II, Calcutta, 1880), pp. 15-16. Oblique view of fa�ade, showing richly-carved balcony windows. Oblique view of fa�ade. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1376). Oblique view of fa�ade. Oblique view of fa�ade. Oblique view of fa�ade and garden in front.[Albumen print, 381x302mm]. Oblique view of gopura. Oblique view of gopura from inside temple enclosure (from north-west?). Oblique view of the building.[Printing-out paper, 250x198mm]. Oblique view of the fa�ade.[Printing-out paper, 251x198mm]. Oblique view of the gatehouse/pavilion. Negative broken in sky area at top left-hand corner. The attribution to H.H. Cole in Bloch's list is probably incorrect. Oblique view of the gopura, slightly unsharp. Duplicate at ASS (185). Oblique view of the main gateway to the Jami Masjid, with scaffolding in place over the archways, the lower parts of which have been closed off, presumably during the Mutiny. Oblique view of the screen of the Jami Masjid from the south side of the courtyard. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xx (b). Oblique view of the screen of the Jami Masjid from the south side of the courtyard. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xx (b). Oblique view of Trade Agent's House, looking across garden. Oblique view of unfinished Raya Gopura at east end of temple. Oblique view of upper portion of main fa�ade of Visvakarma Cave Temple. Oblique view showing only part of fa�ade and overgrown court (the vegetation appears to have prevented the taking of a photograph from a more informative angle.) Observatory staff outside the building with astronomical instruments. Octagonal domed tomb, with archway in each face. General view, with scaffolding around one of the piers of the arches. The attribution to Cole is probably incorrect. Octagonal domed tomb on platform. Octagonal summerhouse. Octagonal tomb with dome. Octagonal tower on the east bank of the Yamuna (Jumna). Octagonal tower on the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x198mm]. Offices of the Public Works Department? Offices still under construction. The letterpress descriptions of Prints 36-38 are all on a single page between Prints 35 & 36. Official residence of the Viceroy during the Delhi Durbar. Oillar with female figure, much damaged. One-and-a-half miles west-north-west of Gingee. View from below, looking up towards the rock-cut Ranganatha Temple on the hillside. One loose print by an unidentified commercial photographer of the sarcophagus unearthed at Sidon (Saida) and reputed to be that of Alexander the Great. The tomb has a finely carved scene frieze of a hunting scene along one side. One of 12 small faded prints titled: 'At Jeypore'. One of 12 small faded prints titled: 'At Jeypore'. One of a series of photographs (Prints 78-89) of Viceregal Lodge taken by J. & H. King during the Earl of Minto's viceroyalty. One of a series of views of Kodaikanal originally numbered 1-7. Contemporary captions were written in a list adjacent to the old no.7, but this has been covered by another print and only some words are visible. One of a series of views of Kodaikanal originally numbered 1-7. Contemporary captions were written in a list adjacent to the old no.7, but this has been covered by another print and only some words are visible. One of a series of views of Kodaikanal originally numbered 1-7. Contemporary captions were written in a list adjacent to this print, but this has been covered by another print and only some words are visible. One of four parts. From east. One of six prints originally stored in an envelope marked 'Bharatpur', although at least one of the prints is from Dig. One of six small prints titled 'Views of the Ghauts at Muttra'. One of the gopuras within the temple precincts. Duplicate (later printing) of Photo 1000 (2942). Another copy at Photo 212/2 (2). One of the least successful photograph, evidently from a very dense negative, with burnt-out highlights. Elliot (Madras) no. 103, Knox (1992) no. 75. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato. ' One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 12 in the Delhi Series. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 13 in the Delhi Series: 'Metcalfe Stables Piquet'. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 14 in the Delhi Series: 'Ludlow Castle'. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 26 in the Delhi Series: 'The Bank'. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 37 in the Lucknow and Cawnpore Series: 'The Residency, taken in front and showing the room in which Sir Henry Lawrence was killed'. One of the views described in H. Hering's' Photographic views and Panoramas taken by Signor Beato': print 48 or 49 in the Delhi Series. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 4 in the Delhi Series: 'Hindoo Nao's[sic] House'. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': probably Print 22 in the Lucknow and Cawnpore Series: 'The Great Gateway of the Kaiserbagh - 3000 Sepoys killed by the English in one day in the Courtyard by the Light Division and Brazier's Sikhs'. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato'. It is not clear which print number this is. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato'. It is not clear which print number this is. Only a portion of the verandah of the Diwan-i-Am is seen, in the right foreground of the photograph. Stereoscopic view. Only northern half of bridge of boats (Raj Ghat end) in photograph. On south wall of temple. On the left, and most distant, is the Cenotaph of Bir Singh Deo. On the left, and most distant, is the Centotaph of Bir Singh Deo. On the right is the entrance to the Dhyanaghar or Shell Cave Open-sided domed pavilion erected over unidentified grave. Open-sided domed pavilion supported on eight pillars, over a gravestone. The pillars appear to have been appropriated from a Hindu building. Open-sided pavilion with hipped roof, presumably raised over a grave. Open-sided stone pavilion.[Gelatin silver print, 55x80mm]. Open-sided stone pavilion in front of the Ank Michauli near the Diwan-i-Khas. Known as the Astrologer's Seat.[Albumen print]. Open-sided summerhouse pitched roof with wooden tiles. Original and duplicate negatives, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original caption incorrectly describes the view as 'Agra Fort, Landside'. Original caption is wrong. Original caption reads: 'Fort Ramadaraya, Lucknow'. Original caption reads: 'Throne, Delhi'. Original glass negative, no print. The building is in identical style to that seen in Photo 527/1 (55), and the two buildings are almost certainly at the same unidentified location. Possibly Darjiling, although the land seems too flat for this area. Original glass negative (with modern digital reference print) showing a European man standing in front of thatched two storey bungalow, with two elephants, howdahs and Indian servants. Originally part of the women's quarters, here seen converted into a museum. For views of interior, see Photo 1007/14 (286D-287D). Original negative and modern copy print at Photo 527/2 (4). Original negative dated.[Modern print from original waxed calotype negative, 465x381mm]. Original negatives, no prints. Views of main building. Original �-plate glass negative only, no print. Close view of the iwan. Original �-plate glass negative only, no print. Similar to 20. Original �-plate glass negative only, no print. Similar to 35. Original �-plate glass negative only, no print. Original �-plate glass negative only, no print. View looking towards the gateway. The throne room was on the balcony on the upper storey. Origin unspecified. Or is this a zayat, a rest house attached to the temple? Or is this a zayat, a rest house attached to the temple? Ornate fountain, erected as a memorial to Sir Cowasjee Jehangir Ornately carved wooden doorway, with projecting balcony above, of an unidentified Jain temple.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 213x293mm]. Ornately decorated arched gateway. Other copies at Photo 197(20) and Photo 449/1(4). See note at Photo 197(20). Outer wall after restoration. Out of focus. Out of focus. Oval image, faded. Oval image. Oval image. View looking towards the sculpture panel, with a European figure silhouetted beside a column looking towards the carvings. Oval image. With Qutb Minar visible in distance. Oval print. General view from the garden. Oval print. General view from the garden of the former residence of the Lieutenant Governor of Bengal, now the National Library. Oval print. Oval print. Oval print. Oval print. Oval print. View of a two storey house, with W.H. Nightingale and his wife standing outside. According to Nightingale's record in the Public Works Department History of Services 1900, he was not appointed to Burdwan until March 1873. Oval print with the name 'Pitfour' (?) inscribed on the verso. Over-lifesize sculpture of the seated Buddha in Bhumisparsa mudra. With an Indian figure seated beside the statue to indicate scale. The sculpture has a vertical fracture from top to bottom. See also print 577. Pagodas and temples. Faded and yellowing. Pagoda seen here in ruinous condition. Pagoda under construction, encased in wooden scaffolding. This shows the brickwork structure of the pagoda, with stucco not yet applied. The htee or hti, is an umbrella-shaped finial. Paintings on the wall of the east side of the Darya Daulat Bagh. Duplicate (later printing) of Photo 1000 (3099). Another copy at Photo 212/6 (1). Pair of Buddhist chortens on the hillside. Palace? Palace buildings in foreground, with fort on hillside beyond. Palace interior. Palace of the Chief of Vishalgarh in Kolhapur state. Palms in foreground, Chepauk Palace (somewhat faded) beyond. Panel at left slightly out of focus. Panel carved in relief. Panel carved with eight standing figures. Panel carved with figures, some defaced. Panel carved with reclining Vishnu. Panel depicting Lord Curzon overseeing construction work. This is one of the panels forming the base of the statue by F.W. Pomeroy in front of the south porch of the Victoria Memorial.[Gelatin silver print, 149x95mm]. Panel depicting Lord Curzon receiving a deputation or address. This is one of the panels forming the base of the statue by F.W. Pomeroy in front of the south porch of the Victoria Memorial.[Gelatin silver print, 160x97mm]. Panel depicting Lord Curzon receiving the (?)surrender of Indian subjects. This is one of the panels forming the base of the statue by F.W. Pomeroy in front of the south porch of the Victoria Memorial.[Gelatin silver print, 152x99mm]. Panel in bas-relief. Panel of dancing Shiva. Panel of pierced stone. Panel of relief sculpture. Panels carved in relief in geometrical and vegetable forms. Panel showing Shiva Lingodbhava-Murti. Panel with relief carving of maidens. Panel with relief carving of stupa Panel with seated male and female figures (Panchika and Hariti?). Panel with three figures, Bohdisattva and two female attendants. Panorama in four parts. Captions below the print identify the following subjects: 'Lock Office; Dowlaishwarum Lock; Head Sluices; Store Shed; Anicut Office; Under Sluices; Stone Boats & Part of Anicut'. Information above the print and on the reverse gives details of construction costs, repairs and local revenue as a result of the scheme. Anicut commenced in 1847 and completed in 1852. Panorama in three parts. Caption below the print reads: 'This Aqueduct was built under the Superintendance of Captain F.T. Haig, Madras Engineers, it crosses the Godavari at Gunnarum and is composed of 49 arches of 40 Feet Span each, its total length is 2280 Feet, it irrigates 35,000 Acres'. Captions above the print provide details of cost and also construction dates: 'Begun January 1852. Water sent over in June 1852. Completed in 1853'. Panorama in two parts. Described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': prints 45 & 46 in the Delhi Series. Negatives are numbered B.12424 and B.12425. Panorama in two parts. Panorama in two-parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts showing the Chaumahalla Palace. Panorama in two-parts showing the facade of the Railway Station. Panoramic view, composed of two joined prints, showing the fa�ade of the house. 'We lunched with Tsarong Shap� today...We were relieved to find only a few excellently cooked dishes a pleasant change after the interminable superfluity of courses that makes us dread an invitation to lunch. Tsarong's house, an attractive blending of English and Tibetan styles and materials, is the largest and most conmfortable in Lhasa; while Tsarong himself is not only the most influential and capable man in Lhasa, but as a host would excel in any country.' (Lhasa Mission Diary, 22 October 1936).[Gelatin silver print, 263x102mm]. Panoramic view composed of three joined prints.'This set of photographs is taken from the great central tower of Nakhon Wat, looking direct west, and represents the stone roofs of the upper galleries of the temple. In the centre of the whole, the main entrance through the western gallery in the outer enclosure is shewn, and a portion of the causeway leading up to the inner buildings of the temple. Some idea may be formed from the perspective of the picture, indicated in the minute dimensions of the distant tower, of the vast area which this building encloses, and of the years of toil which it represents, if we look upon it simply as an accumulation of huge unwieldy blocks of stone, that have been cut from the quarries, and conveyed, by some powerful mechanical agaency, a distance of 40 miles across a burning plain.'('Description of the Photographs, p. 55)[Albumen prints, each signed 'J. Thomson' in the negative, 710x179mm]. Panoramic view composed of three joined prints looking towards Angkor Wat from the second causeway at the western entrance. With the three central towers in the middle of the view. 'The outer boundary wall encloses nearly a square space space measuring about three-fourths of a mile each way, and is surrounded by a ditch 230 feet broad. This is crossed on the west by a raised stone causeway, having pillars on either side, and exquisitely sculptured flights of steps communicating with the water. Facing the cardinal points of the compass, and in the centre of each side of the boundary wall, there are long galleries with arched roofs and monolithic pillars, presenting a striking and classical appearance. Entering the main gateway through the western boundary, and passing up a broad inner caused, paved, like the outer one, with blocks of polished freestone, we approach the western front of the temple shewn in the photograph. Ascending to a cruciform terrace by a flight of steps, sculptured with the most beautiful ornaments, and guarded on either side by colossal stone lions, we stand before the principal entrance of the temple. The front is over 600 feet long. About a third of its entire length is walled-in in the centre, and divided into compartments lighted with windows, each window having seven ornamental stone bars. The floral patterns on these bars are as carefully repeated as if they had been cast from a single mould, or turned by machinery. These apartments occur in the centre of all the galleries, and may have been intended for the accommodation of priests. The remaining two-thirds of the gallery, as may be seen from the photograph, consists of open colonnades, the back walls of which are adorned with the exquisite bas-relief representations that form one of the chief attractions of Nakhon Wat. The hut on the left represents the dwelling of one of the modern priests attached to the temple...'('Description of the Photographs', p. 21).[Albumen prints, the three parts each signed 'J. Thomson' in the negative, 697x179mm]. Panoramic view composed of two joined prints, looking along the ridge towards blockhouses. Panoramic view composed of two joined prints, looking towards the Bala Hissar fort from the east. Duplicate at Photo 430/3 (22). Second copy neg at B.9298. Panoramic view composed of two joined prints. In the left-hand section, looking south, the Dhamekh Stupa and the Jain Temple can be seen in the background; in the distance in the centre of the right-hand section, the Chaukhandi can be seen. Panoramic view composed of two joined prints. This is almost certainly the view listed as nos. 45 and 46 in the Delhi section of the printed catalogue of Beato photographs issued by Hering and Co. in London. Panoramic view composed of two joined prints looking towards the bridge, with the fort of Bukkur in the background. Photograph unsigned, but possibly by Bremner. A tightly curled print.[Albumen prints, 523x209mm]. Panoramic view from the garden, composed of two joined prints. Panoramic view from the garden, the building itself largely obscured by trees and shrubs. Photograph uncredited, but possibly by Lloyd Jones, who became Agent of the Nizam's State Railway in 1919, or perhaps by Dr Edmund Henderson Hunt.[Silver printing-out paper, 304x93mm]. Panoramic view from the south-east, composed of two joined prints, looking towards the walls of the Bala Hissar, with the Bala Hissar Gateway (Darwaza-i-Shah Shuja) just to left of centre, and the walls of the Upper Bala Hissar on the higher ground behind. To the right, on the eastern wall of the citadel, is Abdulla Jan's Palace, occupied at this period by the 67th Regiment. Panoramic view in three parts. Panoramic view in two parts showing the central courtyard and tank.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Panoramic view linking up with print 217. Panoramic view linking up with print 218. Panoramic view linking up with print 220. Panoramic view of complex of buildings housing workers on the Nizam's Guaranteed State Railway. Photograph uncredited, by possibly by Lloyd Jones or Dr Edmund Henderson Hunt.[Silver printing-out paper, 295x93mm]. Panoramic view of formally laid out garden. Photograph uncredited, but possibly by Lloyd Jones or Dr Edmund Henderson Hunt.[Silver printing-out paper, 302x89mm]. Panoramic view of garden with pool and fountain.[silver printing-out paper, 295x116mm]. Panoramic view of school buildings, composed of two prints joined and then re-photographed.[Albumen print, 251x98mm]. Panoramic view of Snowdon, the Commander-in-Chief's residence, composed of two joined prints. With the ball-room and the ADC's quarters in the background. Panoramic view of the British Mission House in the Dekyilingka at Lhasa, composed of two joined prints. Nepean and Morgan can be seen on the upper verandah.[Gelatin silver prints, 206x153mm]. Panoramic view of the buildings of New Delhi.[285x64mm]. Panoramic view of the college buildings, formed from two joined prints.[Gelatin silver prints, 311x103mm]. Panoramic view of the Qutb Minar composed of two joined prints. A note in the text reads: 'The photograph was taken in two plates, the camera being raised upon its transverse axis to cover the upper part of the pillar. In order to avoid the distortion which is apparanet from looking at the photograph from any but the one right position, the eye should be thirteen inches from the paper and opposite to the fourth white dot above the plinth; the effect is then in true perspective.' Panoramic view of the radial arms of the Cellular Jail. Paper blind-stamped, 'B.F.K. Rives No.74'. Name of paper manufacturer? Paper rubbing of design. Parshvanatha temple? Parsvanatha Temple in the foreground, with the Adinatha beyond. Partially excavated linga, with sculpture pieces beyond. Partially excavated sculpture slab. Partially ruined pigeon tower, showing interior with thousands of niches for the nesting pigeons. The towers were built for the collection of pigeon dung to fertilize the melon fields. Partial view of temple shrine. Partial view of the interior of the refectory, with tables set ready and prepared for a meal (print with slight spotting).[Albumen print, 309x375mm]. Partial view of the side of the school building, with train wagons stationed in the front. A minaret visible on the left.[Albumen print, 305x374mm]. Partly demolished wall in foreground, with shrine visible beyond. Part of a column built from stone rings and placed over a funeral urn. Part of City Palace buildings. Part of much-overgrown fort battlements, with pool in foreground. Part of much-overgrown fort battlements. Part of Sandamani Pagoda. Part of the Council Room, showing Hastings' portrait and Chairman's seat. Part of the exterior view of the school, from the garden.[Albumen print, 302x376mm]. Part of the tank of the unidentified temple seen in plate 68. Part of the temple complex, showing the outer perimeter of small shrines with double-vaulted roofs of the Shiva Temple at Nawab Hat, just outside the town. Built in 1788. Part of the wall, much overgrown, inside the fort. Pattern of repeated Buddha images. (I.A. Map 28, C3). Pavilion and pools in the Shalimar Gardens. Pencilled note on mount in Temple's hand reads: 'Govt. House estate commences here [at left of print]. British Barracks, Ross Island, view taken from the open sea. RCT. 25/5/96.' The barracks overlook the sea are are built in castle form, with crenellated walls and bastions. Pencilled notes on the mount supply the following information on various aspects of the furniture: 'Bookcase 'Amber-designs' - 'Persian' chair.' Pencilled notes on the mount supply the following information on various aspects of the furniture: 'Cabinet after Birbal's daughter's house in Fattehpur - old temple screen from Khaira - round 'Greek' chair - Krishna chair.' Pencilled notes on the mount supply the following information on various aspects of the furniture: 'Temple screen from Khaira - Mahadeva as candelabra. Pedestal copy of base of Vadhnagar pillar.' Pencilled notes on the mount supply the following information on various aspects of the furniture: 'Trimurti pier table - easle [sic] with pierced silver screen - Koran stand.' Photo 1000/8 (880) is a platinum print from the same negative. Photo 1000/8 (881) is a platinum print from the same negative. Photo 1000/8 (882) is a platinum print from the same negative. Photo 1000/8 (883) is a platinum print from the same negative. Photo 1000/8 (884) is a platinum print from the same negative. Photo 1000/8 (885) is a platinum print from the same negative. Photo 1000/8 (886) is a platinum print from the same negative. Photo 1000/8 (890) is a platinum print from the same negative. Photo 1000/8 (893) is a platinum print from the same negative. Photo 1000/8 (894) is a platinum print from the same negative. Photo 1000/8 (896) is a platinum print from the same negative. Photo 1000/8 (899) is a platinum print from the same negative. Photo 1000/8 (901) is a platinum print from the same negative. Photo 1000/8 (906) is a platinum print from the same negative. Photo 1000/8 (907) is an albumen print from the same negative. Photo 1000/8 (909) is a platinum print from the same negative. Photo 1000/8 (912) is an albumen print from the same negative. Photo 1000/8 (913) is a platinum print from the same negative. Photo 1000/8 (915) is a platinum print from the same negative. Photo 1000/8 (916) is a platinum print from the same negative. Photo 1000/8 (925) is a platinum print from the same negative. Photo 1000/8 (926) is a platinum print from the same negative. Photo 1000 (1016) is a reduced copy of this print. Photo 1000 (1019) is a reduced copy of this print. Photo 1000 (1021) is a slightly reduced and cropped version of this print. Photo 1000 (1022) is a slightly reduced and cropped copy of this print. Photo 1000 (1023) is a reduced and cropped copy of this print. Photo 1000 (1024) is a slightly reduced and cropped copy of this print, there incorrectly identified as the Hoysalesvara Temple at Halebid. Photo 1000 (1033) is a variant of this print, taken from a slightly different angle. This is the structure described in Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 132: 'Fine, large old temple of Rangasvami, usually called Arvattukhambada-basti or temple of sixty columns, partially ruined, and a good deal buried in rubbish.' See also description and illustration in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' ( ASI, new Imperial series, vol. XLII, Calcutta, 1926), pp. 94-96. Photo 1000 (1037) is a cropped copy of this print. Photo 1000 (1043) is a reduced and cropped copy of this print. Photo 1000 (1052) is a cropped and reduced copy of this print. Photo 1000 (1055) is a reduced and cropped copy of this print. Photo 1000 (1057) is a reduced and cropped copy of this print. Photo 1000 (1063) is a cropped and reduced copy of this print. Photo 1000 (1064) is a slightly reduced and cropped copy of this print. Photo 1000 (1071) is a variant of this print. Photo 1000 (1076) is a reduced and cropped copy of this print. Photo 1000 (1077) is a reduced and cropped copy of this print. Photo 1000 (1079) is a reduced and cropped copy of this print. Photo 1000 (1081) is a slightly reduced and cropped copy of this print. Photo 1000 (1087) is a reduced and cropped copy of this print. Photo 1000 (1096) is a reduced and cropped copy of this print. Photo 1000 (184) and (185) show these two stones, photographed in front of the Tarakeshvara Temple at Hangal. They can be seen in situ in print 42.See also note at Photo 102 (125). Photo 1000 (354) is a reduced copy of this print. Photo 1000 (355) is a reduced copy of this print. Photo 1000 (869) is a platinum print from the same negative. Photo 1000 (974) is a severely cropped copy of this print. Photo 1000 (999) is a reduced copy of this print. Photo-etching of Belvedere from across the lake, from a photograph by James Waterhouse produced by the Survey of India Offices, March 1895. Photograph also appears as plate 35 of F.O. Oertel, Notes on a Tour in Burma in March and April 1892 (Rangoon, 1893). Photograph attributed to H.C.B. Tanner although the original caption and date bear the initials, 'W.A.T.' and the print resembles those of the same site taken by W.R. Houghton. Photograph attributed to H.H. Cole in Bloch's list, but almost certainly one of the series of views taken for Cole by Nicholas & Co. Photograph attributed to H.H. Cole in Bloch's list, but probably one of the series of views taken for Cole by Nicholas & Co. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly one of the series of views taken for Cole by Nicholas and Co. of Madras. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but probably one of the series of views taken for Cole by Nicholas and Co. of Madras. Photograph by Colin Murray for Bourne and Shepherd. Photograph by Colin Murray for Bourne and Shepherd. Photograph by Colin Murray for Bourne and Shepherd. Photograph by Colin Murray for Bourne and Shepherd. Photograph dated on front. Photographed after restoration work. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Photographed after restoration work. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Photographed against blocked-off background. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xli, 4; xlviii, 1. Duplicate (later printing) of Photo 1000 (2201). Photographed against blocked-off background. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xli, 5; xlv, 7. Duplicate (later printing) of Photo 1000 (2202). Photographed at find-spot. Photographed in their boxes. Note with Jamal-Garhi prints reads: 'The plates entered here also include photographs taken from sculptures coming from Takht-i-Bahl and Shahr-i-Buhlul. No separate arrangement was possible. nearly all the sculptures coming from these places are now in the Indian Museum, Calcutta.'Duplicate (earlier print) at Photo 1000 (5915). Photographed in workshop.[Gelatin silver print, 60x136mm]. Photographed in workshop.[Gelatin silver print, 66x138mm]. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlv 1-5, xxxiii 5, xxxvii 14. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlv 6-12 and xliv 1-10. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlv 6-12 and xliv 1-10. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlvi 1-9, xlviii 7-11. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlvi 1-9, xlviii 7-11. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlvi 6-10, xli 1-6. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlvii 1-5 and xliii 1-6. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xlvii-xlviii 1-6. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xvi. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xvii. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xxviii, xxxii 1, xxxvii 2. Photographed on site. Also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xxviii. Photographed on site. Also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xlv 1-5, xxxiii 5, xxxvii 14. Photographed on site. Also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xlvi 6-10, xli 1-6. Photographed on site. Also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xlvii-xlviii 1-6. Photographed on site. Also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xvi. Photographed on site. Also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xvii. Photographed on site. Also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xxviii, xxxii 1, xxxvii 2. Photographed on site. Photographed on site. Photographed on site. Photographed on site. Photographed on site. Photographed on site. Photographed on site. Photographed on site. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xxiii 3. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut'(London, 1879), pl. xxv 1. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xxxiii. 'It is a representation of the Mahakapijijataka, no. 407 in Fausb�ll's translation' (Bloch). Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xxxiii 3. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. xxxiii 4. 'It is a representation of the Mahakapijijataka, no. 407 in Fausb�ll's translation' (Bloch. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xiv. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xxiii 3. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xxv 1. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xxxiii 3. Photographed on site.The piece is also reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. xxxiii 4. 'It is a representation of the Mahakapijijataka, no. 407 in Fausb�ll's translation' (Bloch. Photographed on site.These pieces are also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. viii, xxx, xxvii. Photographed on site.These pieces are also reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. viii, xxx, xxvii. Photographed with background blocked out on negative. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. lv, 5 (Buddha image). Duplicate (later printing) of Photo 1000 (2228). Photographed with background blocked out on negative. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xlix, 1 (outline drawing), and pl. li, 1 and 3. Duplicate (later printing) of Photo 1000 (2218). Photographed with background blocked out on negative. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xlviii, 4, other pieces unpublished. Duplicate (later printing) of Photo 1000 (2217). Photograph enclosed under letter No. C/252/1884-IV, dated 23rd October 1930. General view of main facade, precise location unidentified. Photographer's equipment in the foreground. Photographer's ink stamp on verso. Photographer's ink stamp on verso. Photographer's stamp on reverse. Photographer not named, but possibly Deen Dayal. Photographer uncertain, either Loch or Thomas Biggs. A more distance view of the mosque, partially concealed by foreground trees and buildings. Photographer uncertain: credited to H.H. Cole in Bloch's list, but probably by Nicholas & Co. (see note at print 2347. Photographer uncertain: credited to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but probably by Nicholas and Co. of Madras (see note at print 2347). Photograph from the same viewpoint as print 49, showing the east fa�ade temple under restoration and swathed in scaffolding. Repairs and restoration of the temple were undertaken by J.D. Beglar, an appointment authorised by Sir Ashley Eden, Lieutenant-Governor of Bengal, in 1880 (see Alexander Cunningham, Mahabodhi or the Great Buddhist Temple under the Bodhi Tree at Buddha-Gaya (London, 1892)).Duplicate of Photo 1002 (50). Photographic copy, composed of three joined prints, of an architectural plan of the first floor of the college.[Printing-out paper, 732x175mm]. Photographic copy, comprising three joined prints, of an architectural plan of the college.[Printing out paper, 700x175mm]. Photographic copy, very faded, of a painting of the house.[91x63mm]. Photographic copy of a book illustration, wrongly identified Carr Stephen, The archaeology and monumental remains of Delhi (1876). Photographic copy of a Burmese plan of the Palace. Plate 14 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Photographic copy of a drawing. Photographic copy of a journal illustration. Photographic copy of an architectural drawing, designed by Cousens for restoration work being undertaken at Abu. See 'Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 34. Photographic copy of an architectural drawing.[Albumen print, 164x251mm]. Photographic copy of an architectural drawing.[Albumen print, 251x185mm]. Photographic copy of an architectural drawing.[Albumen print, 252x198mm]. Photographic copy of an architectural drawing.[Albumen print, Photographic copy of an architectural drawing.[Printing-out paper, 252x193mm]. Photographic copy of an architectural drawing. Photographic copy of an architectural drawing (elevation). Photographic copy of an architectural drawing of the elevation of the vimana. 'Application was received for permission to demolish the garbhagriham in the temple...and the renovator who applied for this has already renewed several parts within the temple... Photographic copy of an architectural elevation. Caption notes read: 'The portions of the Palace destroyed by fire in 1897 is [sic] being rebuilt of polished stone, cast-iron and steel, so as to be fire-proof. The drawings illustrate the principal elevations designed by Mr Irwin, Architect to the Madras Government.' Second copy neg at B.12950. Photographic copy of an architectural elevation of temple doorway and surrounding carving. Caption notes read: 'The temple, situated in the village of Belgami, a place of such antiquity as to be styled the mother of cities so far back as the 12th century, abounds with rich carvings, the outcome of the skill of the famous Jakanachari, and is not surpassed in taste and finish by any in Mysore.' Photographic copy of an architectural elevation of the Aghoreshvara Temple. Caption notes read: 'Ikkeri, in which the temple is situated, though now a village, was, from about 1560-1640, the capital of the Keladi chiefs. The only vestige of its former greatness remaining, is the large and well-proportioned temple. On the floor, in front of the shrine, are the effigies of three of the chiefs doing obeisance. One of them, Huchcha (mad) Somasekhara, is represented as manacled and fettered.' Photographic copy of an architectural elevation of the Amba Vilas Palace. Print in poor condition due to off-setting from previous page. See note to print 73. Photographic copy of an architectural elevation of the bathing ghat erected to the memory of Maharaja Sir Chamrajendra Wadiyar. Photographic copy of an architectural elevation of the memorial. Caption notes Read: 'The memorial consists of a bathing ghat, a pavilion and a temple. The last marks the exact spot where His late Highness was cremated. The grounds are laid out as a garden with a grand entrance gateway.' Photographic copy of an architectural plan, continuation of print 3635. Photographic copy of an architectural plan.[Albumen print, 164x248mm]. Photographic copy of an architectural plan.[Albumen print, 173x251mm]. Photographic copy of an architectural plan.[Albumen print, 178x238mm]. Photographic copy of an architectural plan.[Albumen print, 198x245mm]. Photographic copy of an architectural plan.[Albumen print, 221x187mm]. Photographic copy of an architectural plan.[Albumen print, 222x184mm]. Photographic copy of an architectural plan.[Albumen print, 225x182mm]. Photographic copy of an architectural plan.[Albumen print, 228x172mm]. Photographic copy of an architectural plan.[Albumen print, 233x154mm]. Photographic copy of an architectural plan.[Albumen print, 241x173mm]. Photographic copy of an architectural plan.[Albumen print, 243x181mm]. Photographic copy of an architectural plan.[Albumen print, 247x185mm]. Photographic copy of an architectural plan.[Albumen print, 251x186mm]. Photographic copy of an architectural plan.[Albumen print, 252x133mm]. Photographic copy of an architectural plan.[Albumen print, 252x183mm]. Photographic copy of an architectural plan.[Albumen print, 252x197mm]. Photographic copy of an architectural plan.[Albumen print, 252x198mm]. Photographic copy of an architectural plan.[Albumen print, 252x199mm]. Photographic copy of an architectural plan.[Albumen print, 253x170mm]. Photographic copy of an architectural plan.[Albumen print, 253x198mm]. Photographic copy of an architectural plan.[Albumen print, 257x174mm]. Photographic copy of an architectural plan.[Printing-out paper, 230x185mm]. Photographic copy of an architectural plan.[Printing-out paper, 241x165mm]. Photographic copy of an architectural plan.[Printing-out paper, 243x160mm] Photographic copy of an architectural plan.[Printing-out paper, 244x180mm]. Photographic copy of an architectural plan.[Printing-out paper, 245x196mm]. Photographic copy of an architectural plan.[Printing-out paper, 245x198mm]. Photographic copy of an architectural plan.[Printing-out paper, 252x180mm]. Photographic copy of an architectural plan.[Printing-out paper, 252x198mm]. Photographic copy of an architectural plan.[Printing-out paper, 253x190mm]. Photographic copy of an architectural plan. Faded print.[Albumen print, 175x252mm]. Photographic copy of an architectural plan. Photographic copy of an architectural plan of the ground and first floors.[Printing-out paper, 186x198mm]. Photographic copy of an architectural plan of the ground and first floors.[Printing-out paper, 198x251mm]. Photographic copy of an architectural plan of the ground and first floors.[Printing-out paper, 252x198mm]. Photographic copy of an architectural plan of the temple. Photographic copy of architectural drawing of temple sanctuary tower. Photographic copy of book illustration, credited to Bourne & Shepherd. Photographic copy of book illustration, credited to Bourne & Shepherd. Photographic copy of book illustration, credited to Bourne & Shepherd. Photographic copy of drawing.[Sepia toned print, 195x146mm]. Photographic copy of plan, with numbered key to location of paintings. Griffiths II, plate 116.Modern print only. Photographic copy of plate facing p. 166 of Carr Stephen, The archaeology and monumental remains of Delhi (1876). Photographic copy of plate facing p. 222 of Carr Stephen, The archaeology and monumental remains of Delhi (1876). Photographic copy of plate facing p. 224 of Carr Stephen, The archaeology and monumental remains of Delhi (1876). Photographic copy of plate facing p. 228 of Carr Stephen, The archaeology and monumental remains of Delhi (1876). Photographic copy of plate facing p. 278 of Carr Stephen, The archaeology and monumental remains of Delhi (1876). Photographic copy of plate facing p. 74 of Carr Stephen, The archaeology and monumental remains of Delhi (1876). Photograph incorrectly attributed to Cole in Bloch's list. Reproduced in photogravure H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 8. Photograph incorrectly attributed to Cole in Bloch's list. Reproduced in photogravure H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 9. Also reproduced in collotype in Lepel Griffin, 'Famous Monuments of Central India' (London, 1886), pl. xix. Duplicate at Photo 1000 (1645). Photograph incorrectly attributed to H.H. Cole in Bloch's list. Architrave sections lying on ground. Duplicate at Photo 1000 (1432), where a note states that the original negative made over to Major Cole in September 1882 by order of Sir Lepel Griffin. Photograph incorrectly attributed to H.H. Cole in Bloch's list. General view. The pillars and upper architrave are still standing. Other pieces are arranged on the ground in front. Duplicate at Photo 1000 (1429). Photograph incorrectly attributed to H.H. Cole in Bloch's list. Printed from a broken glass plate. Close view of sculpture detail on architrave, showing the worship of a stupa. Another copy of this print (made before the negative was damaged) at Photo 1000 (1431), where a note states that the original negative made over to Major Cole in September 1882 by order of Sir Lepel Griffin. Photograph incorrectly attributed to H.H. Cole in Bloch's list. Reproduced in photogravure H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 10, and in collotype in Lepel Griffin, 'Famous Monuments of Central India' (London, 1886), pl. vii. Bloch's list identifies this as the front side of the gate, Griffin as the rear. Duplicate, apart from different negative reference number, at Photo 1000 (1650). Photograph incorrectly attributed to H.H. Cole in Bloch's list. This is a duplicate, with areas more heavily burned in during printing, of Photo 1000 (1651). Showing the other side of the gate seen in print 1362. Reproduced in photogravure H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 11, and as a collotype in Lepel Griffin, 'Famous Monuments of Central India' (London, 1886), pl. viii. Photograph incorrectly credited to H.H. Cole in Bloch's list. A general view of the re-erected gate, with the missing whole of one pillar and half of the other rebuilt in plain concrete. Areas of the photograph appear to have been heavily burned in during printing (compare with duplicate at Photo 1000 (1646)). Reproduced in photogravure H.H. Cole, 'Preservation of national monuments in India' (vol . II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 6. Also reproduced in collotype in Lepel Griffin, 'Famous Monuments of Central India' (London, 1886), pl. xv. Photograph incorrectly credited to H.H. Cole in Bloch's list. Close view of sculpture on architrave. Duplicate at Photo 1000 (1427), where a note states that the original negative was made over to Major Cole in September 1882 by order of Sir Lepel Griffin. Photograph incorrectly credited to H.H. Cole in Bloch's list. Close view of sculpture on architrave. Duplicate at Photo 1000 (1428), where a note states that the original negative was made over to Major Cole in September 1882 by order of Sir Lepel Griffin. Photograph incorrectly credited to H.H. Cole in Bloch's list. Close view of section of architrave, printed from a broken glass plate. Duplicate of Photo 1000 (1430), which is unbroken, where a note states that the original negative was made over to Major Cole in September 1882 by order of Sir Lepel Griffin. Photograph incorrectly credited to H.H. Cole in Bloch's list. Various components of the gateway lying on the ground. Duplicate at Photo 1000 (1429), where a notre states that the original negative was made over to Major Cole in September 1882 by order of Sir Lepel Griffin. Photograph incorrectly credited to H.H. Cole in Bloch's list. View of the stupa, with a scaffolding platform leading to the summit, and workers engaged in filling in the breach. Reproduced in photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, 'Great Buddhist Tope at Sanchi', pl. 1: 'In March 1881, Mr Mears, Superintendent of Public Works at Sehore, was deputed by the Political Agent of Bhopal to visit Sanchi. The Supreme Government furnished a sum of R.2,000 for preliminary operations, and jungle was removed from the several ruins on the Sanchi Hill, the carved stone fragments were collected, the great breach made in 1822 repaired, creepers removed from the face of the mound, and the shaft that had been sunk in the tope filled in. A series of photographs, showing these operations, was taken...' Another copy of this print can be found at Photo 1000 (1416), where a note states that the original negative was made over to Major Cole in September 1882 by order of Sir Lepel Griffin: the negative was presumably placed in the Indian Museum collection in Calcutta after Cole had used it in his publication.Exhibited Canadian Centre for Architecture, Montreal, Traces of India: Photography. , Architecture, and the Politics of Representation 1850-1900, 14 May- 28 September 2003. Exhibited Museum of Sydney. Imagining India, 16 May - 17 August 1997. Photograph of an engraving. Photograph of an etching. Photograph of a sketch by N.V.L.Rybot which appears on page 340 of L.A. Waddell's Lhasa and its mysteries (London, 1905). Photograph of a wooden three-dimensional model of a village of the sort recommended by Brayne for construction after the war. With typescript key.[Gelatin silver print, 202x149mm]. Photograph of a wooden three-dimensional model of a village of the type recommanded by Brayne for construction after the war. With a typescript key.[Gelatin silver print, 202x116mm]. Photograph of boxed capital, with label recording find-spot and 'recd. from Major Cole R.E. Dec. 1883.' The attribution to Cole is probably incorrect. Photograph of Marochetti's sculpture, with the surrounding arcade beyond. Lady Bayley's note on the facing page reads: 'This marble statue 'The Angel of the Resurrection' was executed by Baron Marochetti from a design drawn by Lady Canning. The sculptor altered it by placing two branches of palms in the arms. The original drawing had only one and was more graceful. Lady Canning said 'the thought and hope of the Resurrection is the only thought can calm the sorrow or give any comfort' in connection with the awful catastrophe that happened here in 1857.' [288x237mm]. Photograph of sculptured slab beneath tree. Photograph of the capital, excavated by Cunningham in 1871, showing the inscription from the reign of the Kushan King Huvishka on the base. The head of the elephant has been broken off. Described in A. Cunningham, Report for the year 1871-72 (A.S.I. vol. III, Calcutta, 1873), p. 20. pl. v is a lithograph based on this photograph. Photograph of the five pillars, finely carved in deep relief, standing side by side in a garden. These were discovered in the neighbourhood, though not excavated, by Cunningham during his excavations of 1871-2. See A. Cunningham, Report for the year 1871-72 (A.S.I. vol. III, Calcutta, 1873), p. 20: 'A more important discovery [than the elephant capital seen in print 837] for the sake of ancient Indian art was that of no less than five large pillars of a Buddhist [Jain?] railing in an almost perfect state of preservation. These were placed in a small dharmsala near the Balbhadra tank, a short distance to the north of the Kankali mound, and close by the Buteswar mound, in which it is believed that they were discovered.' Pl. vi is based on this photograph. Photograph of the sculpture slab, with other images leaning against the wall in the background. Part of negative blocked out to separate background. Photograph of two small votive stupas. Photograph of various small pieces of sculpture. Photograph possibly dates from 1880s. Photograph probably taken soon after the building's completion in 1888.[Albumen print, 282x233mm]. Photograph published with the 1892-93 report. Photograph published with the 1892-93 report. Photograph published with the 1892-93 report. Photograph published with the 1892-93 report. Photograph published with the 1892-93 report. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1281). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1284), from which caption is taken. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1289). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1291). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1295). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1304). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1309). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1311). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1324). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1326). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1327). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1328). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1330). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1331). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1332). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1333). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1336). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1344). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1347). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1350). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1356). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1361). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1362). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1368). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1369). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1370). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1375). Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1387). Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1430). Photograph taken from a similar viewpoint to print 13, but with the land in front of the bungalow under water.[Printing-out paper, 97x73mm]. Photograph taken from a similar viewpoint to print 246, but looking directly through the lion archway and along the south fa�ade of the building. The pre-1870 date is probably arrived at because the roof of the High Court is not visible on the skyline. Print probably made in the 1890s.[Silver printing-out paper, 297x182mm]. Photograph taken from the same view point as print 1433, looking towards the gateway and the flanking towers rising above it. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Photograph taken on the day it was opened by Lady Reading. Photograph taken towards the end of construction. Photograph taken towards the end of construction. Photograph taken towards the end of construction. Photograph taken towards the end of construction. Photograph uncredited, but probably by Beato. Looking towards the massive base of the (uncompleted) Mingun Pagoda, with the great bell in the foreground. Second copy negative at B.25605. Photograph uncredited, but probably by the same photographer as print 138.[Gelatin silver print, 136 X 86 mm]. Photogravure. Photogravure. Photogravure. Photogravure. Photogravure postcard. Photogravure postcard. Pieces of monolithic stone lingas, with a youth posed to indicate scale. Pierced marble screen and cenotaph in the Taj Mahal. Pierced stone window with elaborately sculpted architraves. Pier next to temple doorway, carved in the form of a couchant lion. Pillar bracket in form of human face. Pillar carved in form of a man leading a monkey. Duplicate (later printing) of Photo 1000 (3006). Another copy at Photo 212/3 (27). Pillar carved in the form of (?)a god taking the role of a juggler. Duplicate (later printing) of Photo 1000 (2956). Another copy at Photo 212/2 (16). Pillar carved in the form of [?]'...Shiva slaying one of the sons of Kasimuni'. Duplicate (later printing) of Photo 1000 (3010). Another copy at Photo 212/3 (31). Pillar carved in the form of a man seated on a rearing horse. Duplicate (later printing) of Photo 1000 (2959). Another copy at Photo 212/2 (19). Pillar carved in the form of a man with a female figure seated on his shoulders. Duplicate (later printing) of Photo 1000 (3008). Another copy at Photo 212/3 (29). Pillar carved in the form of a man with monkey on shoulder. Duplicate (later printing) of Photo 1000 (3007). Another copy at Photo 212/3 (28). Pillar carved in the form of a woman holding a baby. Duplicate (later printing) of Photo 1000 (2954). Another copy at Photo 212/2 (14). Pillar carved in the form of a woman playing the vina. Duplicate (later printing) of Photo 1000 (2962). Another copy at Photo 212/2 (22). Pillar carved in the form of Shiva. Duplicate (later printing) of Photo 1000 (2955). Another copy at Photo 212/2 (15). Pillar carved in the form of Shiva armed for battle. Duplicate (later printing) of Photo 1000 (2961). Another copy at Photo 212/2 (21). Pillar carved in the form of Subramanya (Skanda), son of Shiva, seated on a peacock. Duplicate (later printing) of Photo 1000 (2963). Another copy at Photo 212/2 (23). Pillar carved in the form of three figures. Duplicate (later printing) of Photo 1000 (2929). Another copy at Photo 212/1 (30). Pillar carved with erotic scenes and foliate forms. Pillar fragments: Elliot (Madras) no. 57, Knox (1992) no. 114, Elliot (Madras) no. 56, Knox (1992) no. 110; fragments of dome slabs: Elliot (Madras) no. 123, Knox (1992) no. 101, Elliot (Madras) no. 119, Knox (1992) no. 79; fragment of railing coping: Elliot (Madras) no. 77, Knox (1992) no. 37; drum pilaster (also seen in print 3): Elliot (Madras) no. 10, Knox (1992) no. 83. Pillar fragment with bas-relief panels. Pillar fragment with relief carving. Pillar from a stupa with panels carved in bas-relief. Pillar from stupa with scenes carved in bas-relief. Pillars carved in the form of rearing horses at the entrance to the Pudu Mandapa. Duplicate (later printing) of Photo 1000 (2917). Another copy Photo 212/1 (18). Pillars supporting a small dome in semi-ruinous condition. Pillar with bas-relief panels. Pillar with female figure. Pl. 1 of Taylor and Fergusson, 'Architecture in Dharwar and Mysore' (London, 1866), where the location is incorrectly given as Guduk. A cropped and slightly reduced copy of the print is at Photo 1000/10 (1082). Bloch's list also gives Guduk as the location. Pl. 26 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). Salt print, 208 x 159 mm. Same subject at Photo 959 (16). Pl. xii of Lepel Griffin, Famous Monuments of Central India (London, 1886). Close view, showing sculptural detail. Duplicate (later printing) of Photo 1000 (1680). Pl. xxii of Lepel Griffin, Famous Monuments of Central India (London, 1886). Close view, showing sculptural detail. Duplicate (later printing) of Photo 1000 (1683). Pl. xxi of Lepel Griffin, Famous Monuments of Central India (London, 1886). Close view, showing sculptural detail. Duplicate (later printing) of Photo 1000 (1682). Pl. xxiv of Lepel Griffin, Famous Monuments of Central India (London, 1886). Close view, showing sculptural detail. Duplicate (later printing) of Photo 1000 (1678). Pl. xx of Lepel Griffin, Famous Monuments of Central India (London, 1886). Close view, showing sculptural detail. Duplicate (later printing) of Photo 1000 (1679). Pl. xxv of Lepel Griffin, Famous Monuments of Central India (London, 1886). Close view, showing sculptural detail. Duplicate (later printing) of Photo 1000 (1681). Plain brass cannon on wooden carriage. Photograph uncredited, but probably by Johnston & Hoffmann.[Silver printing-out paper, 322x187mm]. Plate 1 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 1 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Plate 22 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). (?)Lightly albumenised salt print, 155 x 200 mm. Plate 23 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). (?)Lightly albumenised salt print, 156 x 207 mm. Plate 24 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). Salt print, 142 x 202 mm. Plate 28 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). Salt print from a wet collodion negative, 158 x 208 mm. Plate 28 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 29 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). Salt print from a wet collodion negative, 157 x 205 mm. Plate 2 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 30 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 32 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 3 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 3 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Plate 4 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Plate 5 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 5 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905): 'At the point where the narrow boulder-filled ravine which skirts the north-west face of the site debouches into the bed of the Indus, there stands a small shrine closely allied in character and style to the shrines in the interior of the stronghold, but more ornate than any of them. It is well known to the people by the name of Kanjari-Kothi, and easily seen from the river; yet it seems to have completely escaped General Cunningham's notice...' (pp14-15). Plate 6 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Plate 7 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Plate 8 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). (?)Lightly albumenised salt print from a wet collodion negative, 155 x 209 mm. Plate 9 in Taylor & Fergusson, Architecture in Dharwar and Mysore (London, 1866). Salt print from a wet collodion negative, 158 x 206 mm. Platinum print. Pool and fountains in the Shalimar Gardens. Pool with central pavilion, surrounded by arcades. Situated in the ornamental garden in the southern part of the palace precincts. Poor condition, faded. Poor condition, very faded.[Printing-out paper, 147x108mm]. Poorish quality photograph. Poorish quality print. Poorish quality snapshot of two Europeans wearing military caps, standing in front of a bungalow. A very tightly curled print.[Printing-out paper, 95x73mm]. Poorly quality print, subject largely in shadow. Poor print. Poor quality, faded snapshot. Poor quality, indistinct image. (I.A. Map 30, B2). Poor quality, indistinct image. View of fresco. (I.A. Map 28, C3). Poor quality. Poor quality amateur print. Poor quality copy of book illustration. Poor quality image, uneven density. View looking towards the rock-cut shrines, with the temple in the foreground below the cliffs. Cropped version reproduced, Innermost Asia, vol. 1, fig. 271: 'Cave shrines and temple at Ma-ti-ssu.' (I.A. Map 46, B4). Poor quality image; similar view to print 203. (I.A. Map 28, C3). Poor quality image. (I.A. Map 28, C3). Poor quality image. (I.A. Map 28, C3). Poor quality image. (I.A. Map 30, B2). Poor quality image. View of frescoes in cave shrine. (I.A. Map 17, A1). Poor quality negative, no print. Poor quality photograph, indistinct. Close view of relief panel. Poor quality photograph, indistinct. Close view of relief panel. Poor quality photograph, negative emulsion reticulated. Poor quality photograph, showing doorway with sculptured architraves, with sculpture of tirthankara seated within the sanctum. Poor quality photograph, showing the range of buildings under construction. Attribution of the photograph to H.H. Cole in Bloch's list is probably incorrect. Poor quality photograph, with base of building out of frame. Poor quality photograph. Another view of the temple seen in print 740. Poor quality photograph. Close view of base of gopura. Poor quality photograph. Close view showing frieze. Poor quality photograph. Described in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pp. 93-95: '...one of the rare examples of a shrine dedicated to Brahma.' Poor quality photograph. Duplicate at Photo 1008/1 (199). Poor quality photograph. Poor quality photograph. Poor quality photograph. North-Western Provinces list p. 123: '...a small masjid 19 feet 4 inches square, built entirely of Hindu materials, or perhaps it is part of a Hindu temple, only slightly altered. It is called Bansa, and bears an inscription in Devanagari letters of the time of Firuz Shah [see print 804]. The erection of the masjid must therefore be later than the date of this inscription, Samvat 1415, or A.D. 1358. The pillars of the masjid apparently must have belonged to three or four different temples, as they are of very different sizes as well as of different patterns.' This last sentence appears to contradict the possibility that the mosque was originally part of a single temple. The use of this building as a mosque was later called into question: see note at Photo 1007/21 (1954). Poor quality photograph. North-West Provinces list p. 119. One of a number of temples near the deserted town. Poor quality photograph. North-West Provinces list p. 119. One of a number of temples near the deserted town. Poor quality photograph. North-West Provinces list pp. 121-23; A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pp. 90-96. Cunningham concludes that this 'must have been a Jain temple which had been wantonly wrecked by hostile Brahmans.' Poor quality photograph. See E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 40 for a drawing of this piece. Poor quality photograph. Poor quality photograph. Poor quality photograph. Poor quality photograph. Poor quality photograph. Poor quality photograph. Poor quality photograph. Poor quality photograph. Poor quality photograph. Poor quality photograph. Temple largely obscured by foreground trees. Poor quality photograph of an unidentified tomb. Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 34-35. Poor quality photography. Poor quality print, considerable fading and yellowing.[Gelatin silver print, 304x252mm]. Poor quality print, faded. Poor quality print, looking towards two of the Satgarha Temples. Poor quality print, made from a broken glass plate. South face. Poor quality print, made from a broken glass plate. Poor quality print, made from a broken glass plate. Poor quality print, negative spotted. View looking along the verandah. Poor quality print, rather dark. General view. 'The temple deserves inclusion in the conserved list from an architectural point of view and on account of its ancient nature. The repairs should be solely done by Government. The unfinished tower of the gopuram over the stone base has the masonry in an irregular condition, and the joints require being pointed, in order that further damage may not take place. The damage is the result of long neglect and the temple is in such a low level that all the rain-water stagnates within. This, if allowed to continue will damage the foundation still further...Arrangements should be immediately to remedy this defect' (Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1911-1912 (Madras, 1912), p. 19). Poor quality print, showing both mandapas. Poor quality print, showing railings inside mosque Poor quality print, showing window with wood carved surrounds. Poor quality print, subjects dark and indistinct. General view of the two brick and plaster elephants, horse and other figures. Poor quality print, under-exposed. Poor quality print, unsharp. Close view part of the gopura. Poor quality print, with considerable fading and yellowing. Poor quality print, with considerable yellowing. View looking over rooftops towards the shrine (extreme left) and gopura. Poor quality print, with dirt staining and numerous folds.[Albumen print, 162x174mm]. Poor quality print, with retouching. General view of outer walls. Poor quality print, with silver tarnishing. Poor quality print, with some fading. Close view of the small part of the fa�ade, showing carved detail and mouldings. Poor quality print. Base of gateway (during excavations?). Poor quality print. Brahma attempting lift the Shiva-linga. Poor quality print. Carved stone figure in doorway. Poor quality print. Close view of building. Poor quality print. Close view of carved columns. Poor quality print. Close view of row of monks' cells. Poor quality print. Close view of sculpture. Poor quality print. Close view of sculpture panel. Poor quality print. Close view of sculpture panel of musicians. Poor quality print. Close view of temple shrine. Poor quality print. Close view of the cenotaph. Poor quality print. Column with sculptured figure. Poor quality print. Column with sculptured figure. Poor quality print. Column with sculptured figure. Poor quality print. Dagoba in foreground, with cells beyond. Poor quality print. Distant view of a house in an unknown location. Poor quality print. From east. Poor quality print. From north. Poor quality print. From north-east. Poor quality print. From south. Poor quality print. From south. Poor quality print. From south-east. Poor quality print. From south-east. Poor quality print. From south-west. Poor quality print. From south-west. Poor quality print. From west. Poor quality print. From west. Poor quality print. General view. '...Standing isolated in the fields, is a very small shrine, certainly the oldest at Visavada. It is a small square temple, standing upon a ruined basement and had originally a porch or mandapa. The walls are plainly moulded and the roof rises as a pyramid decorated with rows of little chaitya arches or windows...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 17). Poor quality print. General view. Poor quality print. General view. Poor quality print. General view. Poor quality print. General view looking towards gateway. Poor quality print. General view of archway in wall. Poor quality print. Lakshmi being bathed by elephants. Poor quality print. Madras list pp. 164-165: '...An inscribed slab which covered the mouth of a well inside the arsenal. This is now to be seen placed erect in the second prakara gopura. It is in old Tami characters...It is broken in half, only the first half of each line being visible, so that very little can be gathered from it...The inscription would...appear to be one in praise of the Chola Raja Kulottunga I, or Koppara Kesrivarma, and to date from about the year A.D. 1080 or thereabouts. It probably formed part of some older building, existent at Vellore before the present temple was commenced.' Poor quality print. Row of Buddha images. Poor quality print. Row of seated Buddha images and other figures. Poor quality print. Same figure as in print 102. Poor quality print. Sculpture in niche of standing Buddha image. Poor quality print. Sculpture piece of Ganesha. Poor quality print. See Beglar, op. cit., pp.138-145. Poor quality print. Shiva, hand raised in Abhaya mudra. Poor quality print. Shiva and Parvati playing dice. Poor quality print. Shiva crushing the demon dwarf. Poor quality print. Similar to print 3971. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. The two statues sit on the verandah on either side of the entrance to an unidentified house. The figures are of the upper half only, with curved bases which would be seated on the backs of the stone elephants. See references at print 877. Poor quality print. Varaha (boar) incarnation of Vishnu. Poor quality print. View along corridor, flanked by columns. Poor quality print. View from the south-west, taken from outside the perimeter wall of the temple and looking towards the pyramidal superstructure of the msin shrine. Poor quality print. View looking across garden. Poor quality print. View looking along the mandapa towards a shrine. Poor quality print. View looking over the entrance wall from the left, towards the monolithic shrine in the centre of the open court. Poor quality print. View looking towards gopuras, with tank in foreground. Poor quality print. View looking towards linga shrine. Poor quality print. View looking towards Nandi and other sculptures. Poor quality print. View looking towards retaining wall of reservoir. Poor quality print. View looking up the slope towards the shrine. Poor quality print. View looking up towards fa�ade and horseshoe window. Poor quality print. View of corner of courtyard and arcade. Poor quality print. View of doorway and window above. Poor quality print. View of the cenotaph on the upper terrace of the tomb. Poor quality print. Virabhadra (vengeful form of Shiva). Poor quality print. With Buddha image. Poor quality print (from under-exposed negative). View looking towards the open-sided hall, where a large group is gathered. Poor quality print (with note on mount: 'taken in rainy weather'). General view looking towards the porch of the cave temple, with the Olakkanatha Temple on the summit of the hill directly above. Behind this temple can be seen the top of a modern structure (a lighthouse?). Poor quality print due to high contrast. Poor quality print of gateway. Poor quality snapshot.[100x74mm]. Poor quality snapshot. Arched colonnade. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot in the Red Fort. Poor quality snapshot of a building. Poor quality snapshot of the Durga Temple and ghat. Poor quality view. Poor qulaity photograph. See note to print 803. Porch and stairs at entrance to summerhouse. Porch of temple in fort, looking towards entrance to temple. Porch overlooking the tank, seen from the south-east. Porters in front of Bhutanese house. Portion of a broken fountain slab, with decorative work in shallow relief. Portion of a five-part panorama. Portion of carved frieze. Portion of colonnade in semi-ruinous state, with statues. The central statue is Varahi, the female aspect of Varaha or Vishnu in his boar incarnation. Figures corresponding to numbers 50-54 in Cunningham's list. Portion of column with standing figure carved in relief at base. Portion of earthenware pilaster. Portion of interior, looking along arcade towards mihrab (prayer niche). The vaulting is in a state of near-collapse, and joists and masonry lie in the foreground. Portion of interior showing collapsing wall. Portion of pavement next to a stone wall. Portion of railing, coping stone, rail bar, etc. Detail from this photograph are reproduced as a lithograph in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. Vol. X, Calcutta, 1880), pl. xiii, and described p. 38. Portion of railing, coping stone, rail bar, etc. Detail from this photograph are reproduced as a lithograph in Alexander Cunningham, 'Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77' (A.S.I. Vol. X, Calcutta, 1880), pl. xiii, and described p. 38. Portion of ruins, with broken column in foreground. Portion of the facade. From north-east. Portion of the facade showing the porte-cochere. The building was designed by Sir Samuel Swinton Jacob combining Rajput and European influences. Duplicate at Photo 430/40 (33). Portion of the tomb. From south-west. Portion of verandah with carved columns. Portrait of a European officer looking out the window of a stone hut. Portrait of a man and two views of a house. Portrait of a seated woman. Portrait of five men. Portrait of Holmes' sister, Gwen, sitting in a courtyard in the ruins of Avantipur. Figure on left scratched out of negative (see notes in Intro). Posed group of Indian craftsmen making plaster of Paris moulds of stonework. The figures are grouped in front of the Hindu columns of the Quwwat-ul-Islam Mosque at the Qutb. The European figure in the centre is presumably Henry Hardy Cole. Possibly a Baker view. Possibly a Baker view. Possibly a colliery building near Giridih. See notes with Print 66. Possibly a Gill photograph. Possibly a Gill photograph. Possibly a Nicholas & Co photograph. Possibly a Nicholas & Co photograph. Possibly a Nicholas & Co print. In the List of Nicholas & Co's photographic views (Madras 1896), there is a Coonoor view described as: 'The Library'. Possibly a Residency or Guest House used by Hardinge during a tour. Possibly a Shiva image. Possibly at the unidentified mosque seen in prints 17-19. Possibly Bourne No.1353. Possibly Bourne No.1362. Possibly Bourne No.1368. Possibly Bourne No.1369. Possibly by Dr W. P. Dickson, see Print 5. Possibly by Gobindram & Oodeyram. Possibly by Gobindram & Oodeyram. The photographers number '118' would fit sequentially with other prints attributed to the firm. Possibly by Impey. Possibly by Impey. Possibly by Impey. Possibly by Major Gill. Possibly by Molteno. Possibly by Nicholas Bros. Possibly by Tanner. Possibly half a stereograph by Gill. Possibly in Kashmir? Possibly part of the Begum Kothi? Possibly photographed by Felice Beato? Possibly photographed by Glover. Possibly remnants of the Akbari Mahal? Possibly taken at the same location as print 95.[Albumen print, 85x72mm]. Possibly the Mecca Gate with Malik Ambar's mosque. Possibly the Satbis Deori temple. See Photo 1002 (1612). Possibly the Yercaud view described as 'No 13 Fair Lawn's Hotel' in the List of Nicholas and Co's photographic views. Possibly tram workshops. Buildings dressed in similar stone to print 4. Post and telegraph office. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard (original photograph). General view, somewhat distant. Postcard of a painting. Postcard published by B. Rigold & Bergmann, Bombay. Postcard Postcard view, looking across court to prayer hall. Postcard view. Postcard view. Postcard view. Postcard view. Postcard view. Postcard view. Postcard view. Postcard view (original photograph) of some of the richly carved columns. Postcard view from the lake. Postcard view of interior. Postcard view of part of the fa�ade. Postcard view of the interior of the Diwan-i-Am. Postcard view of the Jantar Mantar. Postcard view of the Monkey Temple. Postcard view of the tomb. Prayer hall and screen of the Jami Masjid Precise location unidentified. Small format print. Precise location unidentified. Precise location unidentified. Precise location unidentified. Precise location unidentified. Precise location unknown. Precise structure unidentified. Presumably the 'new Chinese joss-house, which has lately been completed, though part of it has been in existence for some fifty years', visited by Lord Elgin on 29 November 1898 and mentioned in the accompanying newspaper cutting. Presumably the group referred to in J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), p. 168: 'About half-way between Rayapura and Drug [west of Raipur] are a few temples on the banks of a tank by the roadside; these temples are modern, not dating beyond the Mahratta period, and of no interest.' Print 3 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860). Print 5 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860), and there titled, 'Eastern ruins of the Citadel'. Print 6 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860), and there titled, 'Nawab Mustapha Khan's Gate-Way and Mosque'. The view looks through the gateway, which frames a view of the small mosque. Print badly damaged by worm holes.[Albumen print, 156x105mm]. Print copied from a book. Also reproduced as Plate XXXVI in Constance Villiers-Stuart's Gardens of the Great Mughals. Print cropped to square format. Another copy of this print, uncropped, appears as pl. 29 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466). Printed from a badly broken glass plate, and in generally poor condition. Signed in the negative O.S. Baudesson 1882. Printed from a badly broken glass plate, and in generally poor condition. Signed in the negative O.S. Baudesson 1882. Printed from a broken glass negative. General view of the double-towered temples, described in A.C.L. Carlleyle, 'Report of a tour in Eastern Rajputana in 1871-72 and 1872-73' (A.S.I. vol. VI, Calcutta, 1878), pp. 244-249: 'Temple of Mahalkal and Bijnath. This temple contains a grand, domed, central hall, or vestibule, and two side shrines, and a small side chamber, as well as a small upper chamber over the last; the two shrines being each surmounted by a separate sikar, or spire, while the small side chamber is surmounted by a pointed dome, and the great hall is covered by a low, somewhat flattened rounded dome; so that this is, in reality, a large building containing two temples under one roof, as well as the great central hall, and two small side chambers, one above the other; and it is surmoiunted by two sikars and two domes.' Printed from a broken glass negative. No references for building. Printed from a broken glass negative. No references for building. Printed from a broken glass negative. No references for structure. Printed from a broken glass negative. No references for structure. Printed from a broken glass plass. Signed in the negative O.S. Baudesson 1882. Printed from a broken glass plass. Signed in the negative O.S. Baudesson 1882. Printed from a broken glass plate, labelled merely 'Bengal'. Printed from a broken glass plate, labelled merely 'Bengal'. Printed from a broken glass plate. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. Printed from a broken glass plate. Credited to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. Printed from a broken glass plate. Fergusson (op. cit., p. 133) described the porch as being 'sculptured with a richness and complexity of design almost unrivalled, even in those days of patient prodigality of labour.' Printed from a broken glass plate. Fergusson (op. cit., p. 133) described the porch as being 'sculptured with a richness and complexity of design almost unrivalled, even in those days of patient prodigality of labour.' Printed from a broken glass plate. Head-on view of the central portion of the screen of the prayer hall, with the dome beyond. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. Printed from a broken glass plate. Interior view looking up towards dome. Printed from a broken glass plate. See note at print 1912. Printed from a broken glass plate. See note at print 1912. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. Printed from a broken glass plate. This appears to be an earlier view than print 2235. In the print erosion of the right hand edge of the wall can be seen. In print 2235 this has been repaired. The view possibly dates from the 1870s rather than the 1880s, in which case it is probably the work of another photographer. Printed from a broken glass plate. This appears to be an earlier view than print 2235. In the print erosion of the right hand edge of the wall can be seen. In print 2235 this has been repaired. The view possibly dates from the 1870s rather than the 1880s, in which case it is probably the work of another photographer. Printed from a broken glass plate. View along corridor of pointed arches. Printed from a broken glass plate and incorrectly credited to H.H. Cole in Bloch's list. Reproduced in photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol. II, c. 1885), part 7, Great Buddhist Tope at Sanchi, pl. 2. printed from a poor quality negative, with damage to emulsion at edges, possibly due to premature drying of collodion.Side view of the capital, described in A. Cunningham, Four reports made during the years 1862-63-64-65 (A.S.I. vol. I, Simla, 1871), pp. 274-275: 'At 400 feet to the north of the temple mound there is a capital of an ancient pillar bearing the figure of an elephant, standing, but both his trunk and tail are wanting. The capital itself is of the well known bell-shape, corded or reeded perpendicularly, with an abacus or honeysuckle similar to that of the Allahabad pillar. The figure of the elephant is by far the best representation of that animal that I have seen in any Indian sculpture...' Printed from a � plate negative. Close view of doorway, surrounded by pierced stone windows in various geometric designs. Printed from a � plate negative. Close view of inscription. Printed from a � plate negative. General view. Printed from a � plate negative. General view looking along the top of the wav or step-well at ground level. Printed from a � plate negative. General view of gateway. This photograph is reproduced in collotype in James Burgess, The Muhammadan Architecture of Ahmadabad (vol II, London, 1905), pl. XXVIa. Printed from a � plate negative. General view of triple-arched gateway. Printed from a � plate negative. Photograph from the same position as print 2122, but taking in a wider field of view. Printed from a � plate negative. Similar to print 2109. This photograph is reproduced in collotype in James Burgess, The Muhammadan Architecture of Ahmadabad (vol II, London, 1905), pl. XXVIb. Printed from a � plate negative. Printed from a � plate negative. Printed from a � plate negative. View from the north platform. This photograph is reproduced in collotype in James Burgess, The Muhammadan Architecture of Ahmadabad (vol II, London, 1905), pl. VIa. Printed from a � plate negative. View looking across gallery of octagonal well towards door on far side, showing details of carved work. This photograph is reproduced in collotype in James Burgess, The Muhammadan Architecture of Ahmadabad (vol II, London, 1905), pl. VIb. Printed from a � plate negative. With workmen seated in foreground. Printed unsigned, but possibly by Deen Dayal. Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list Titles of Slides accompanying this collection. Note on the mount reads: 'Intermediate chaitya - [h]ti on top of the sikra'. Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list Titles of Slides accompanying this collection. Note on the mount reads: 'next stage, Mahabodhi chinthes, one procession path ...[?]...date 11th century...[?]...18th century'. Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list Titles of Slides accompanying this collection. Note on the mount reads: 'procession paths...[?]...ornamental elongation of sikra & final top ornament...[?]...of stupa'. Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list Titles of Slides accompanying this collection. Note on the mount reads: 'Sikra now most important part of pagoda'. Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list Titles of Slides accompanying this collection. Notes on the mount read: 'Greatly elongated stupa with [?] sikra & procession paths - Shan ti on top'. Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list Titles of Slides accompanying this collection. Rough notes on the mount are unclear. This print is reproduced opposite the title-page in volume one of The British Burma Gazetteer Rangoon, 1880. Printed volume containing 44 carbon print (Autotype) photographs of architectural and archaeological subjects in Kashmir. See Photo 981/1 for duplicate copy with full listing of prints. Print from a small format negative. Print from a small format negative. Print from a � plate negative. '...It consists of a shrine and a mandapa, the outer casing of the former having been newly rebuilt of brick and mortar. It contains a linga. The sikharas of the shrine and mandapa have gone, that of the porch remains...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 5). Print from a � plate negative. Close view of richly-carved column brackets in the form of rearing elephants in the modern Jain Kastasangai Temple. Print from a � plate negative. General view of the triple-arched screen of the east fa�ade from the courtyard. For an earlier view of the mosque, taken by Robert Gill in 1868-9, see Photo 1000 (1952). Print from a � plate negative. General view of west front. This photograph is reproduced in collotype in James Burgess, The Muhammadan Architecture of Ahmadabad (vol II, London, 1905), pl. VIIa. Print from a � plate negative. Print from a � plate negative. View looking towards mosque from outside the perimeter wall, with the east gateway in the foreground. The mosque itself is largely obscured in this view. Print from a � plate negative. View looking towards temple, the shikara largely obscured by trees. 'The temple has two shrines, west and south sides of a common mandapa, but it seems to have originally consisted of the mandapa and one shrine only, viz., that on the west of the mandapa. The second shrine is obviously an after addition...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 6). Print from a � plate negative. View looking towards the south temple (with shikara), with gateway in foreground. 'At Tapone or Tapovan, about 4 miles south of Javalgaon, are two temples close together and known by the name of Kasivisvesvara. They face east. The south temple is in good condition, while the outer walls of the other have been repaired. They are about 35 feet in length and each has a linga in the shrine. The south temple has a plain sikhara, but the other has none...The walls are plain. There are the remains of other two small shrines at the back with a well. In front of the temple has been a courtyard, the gateway of which is double storeyed' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 5). Print from a � plate negative. View of entrance to ruined temple, much overgrown with vegetation: '...a triple-shrined temple in ruins, the outer casing of whose walls is almost wholly removed...It is of no special interest' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 8). Print from cracked negative. From north. Print from cracked negative. From west. Print has been crudely hand-coloured. This is one of the views listed in the China series of H. Hering's Photographic views and panoramas taken by Signor Beato. Print has the wet stamp 'Schutzmarks' on the reverse. Print highlights faded. Print incorrectly identified as the Diwan-i-Khas. Print in poor condition, fading and yellowing.[Printing-out paper, 321x261mm]. Print in poor condition, fading and yellowing. Second copy neg at B.25650. Print in poor condition, several tears and some staining. Duplicate (later printing) of Photo 1000 (3045). Another copy at Photo 212/4 (27). Print in poor condition, with streak marks. Duplicate at ASS (184). Print in poor condition, with tear in bottom left corner. The building has been tentatively identified as an interior at Belvedere House, Calcutta, but the reasons for this attribution are unclear. Print in poor condition.[Gelatin silver print, 280x49mm]. Print in poor condition. Bengal list pp. 448-449; see also, Alexander Cunningham, 'Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882) pp. 90-93. Print in poor condition.Duplicate of Photo 1002 (98). Print in poor condition. General view of small stupa. Print in poor condition. Relief carving of standing figure of Brahma. Print in poor condition. Relief carving of standing figure of Vishnu. Print in poor condition. Print in poor condition. Print in poor condition. Print in poor condition. Print in poor condition. Print in poorish condition, with overall spotting.[Albumen print, 285x357mm]. Print in poorish condition, with overall spotting.[Albumen print, 299x372mm]. Print in poorish condition, with overall spotting.[Albumen print, 307x370mm]. Print in poorish condition, with overall spotting.[Albumen print, 307x372mm]. Print in poorish condition, with some overall spotting.[Albumen print, 377x302mm]. Print in two parts. Print in unusable condition: appears to be solarised or printed in negative. India Museum no. 530(b). Duplicate of Photo 1000 (2446). Print in very poor condition. Print is badly creased. Print is badly creased. Print listed in an accompanying manuscript list of Herzog & Higgins' Nepal views, dated 1901, and written by Miss Edith Ashton. Print listed in Archaeological Survey of India Annual Report, Southern Circle, 1912-13, but photograph not included in ASI collections.[152x204mm]. Print listed in Archaeological Survey of India Annual Report, Southern Circle, 1912-13, but photograph not included in ASI collections.[202x153mm]. Print listed in Archaeological Survey of India Annual Report, Southern Circle, 1912-13, but photograph not included in ASI collections.[203x152mm]. Print listed in Archaeological Survey of India Annual Report, Southern Circle, 1912-13, but photograph not included in ASI collections.[203x152mm]. Print made from a broken glass negative. General view of unexcavated site. Print made from a cracked glass negative. Showing the elephant statue with a European figure (presumably Mr Heath) posed beside it with two Indians. Print made from damaged negative. Print made from damaged negative. Print may be half of a sterograph by Gill. Print may be half of a sterograph by Gill. Print may be half of a sterograph by Gill. Print missing from this volume: see copy at BL 1784.a.10. Print missing from this volume: see copy at BL 1784.a.10. Print mounted on card numbered '118'. View of the lat or stone pillar surmounted by a lion. Although known locally as Bhim Singh's lat, this is one of the pillars erected by Asoka to mark the stages of his pilgrimage to Nepal to visit the holy sites of Buddhism. Print mounted on card numbered '30'. Print much darker on left half. Right half of print reproduced, Innermost Asia, vol. 1, fig. 269: 'Temple below cave-shrines of Ma-ti-ssu Monastery.' (I.A. Map 46, B4). Prints 138-146 show close views of sections of the carved frieze in the verandah of the Rani Gumpha Cave on Udayagiri Hill (opposite Khandgiri Hill). Prints 1952-1955 show similar scenes. Prints 20-24 form a five-part panoramic view.[Albumen print]. Prints 415-419 give a complete record of the frieze in the upper storey, which shows scenes from a so-far unidentified narrative. Prints 85-137 are European views (mainly cathedral architecture in France, with a few Scottish views at the end), and have not been individually listed. Print signed, 'By Chas. Lickfold, City of Ahmedabad'. Print signed, 'By Lickfold Chas., City of Ahmedabad'. Print signed, 'C. Lickfold, City of Ahmedabad'. Print signed, 'C. Lickfold, Photographer, City [of Ahmadabad]'. Print signed, 'C. Lickfold, Photographer'. Print signed, 'Chas. Lickfold, City of Ahmedabad'. Print signed, 'Chas. Lickfold, Photographer, City of Ahmedabad'. Print signed, 'Lickfold,Chas, City of Ahmedabad'. Print signed: 'C. Thomson 1890'. Print signed: 'Chas. Lickfold, Photographer, City of Ahmedabad'. Print signed: 'Chas. Lickfold, Photo Wallah, City of Ahmedabad'. Print signed: 'Lickfold Chas. Photographer, City of Ahmedabad'. Print signed 'H.C. 100' in the negative; probably the same photographer as print 101 (there signed 'H.B.C.'). Probably not Henry Cousens, who is not known to have visited Kulu. Print somewhat damaged by folds.[?Collodion printing-out paper, 151x104mm]. Print surface slightly crazed from shrinkage of collodion on negative. Duplicate (later printing) of Photo 1000 (2916). Another copy at Photo 212/1 (17). Print surface squared off in pencil for artist's reference. Print unsigned, but probably by Felice Beato. Print unsigned, but probably by Felice Beato. Print unsigned, but probably by Jackson. Print unsigned, but probably by Skeen & Co. Print wrongly captioned as 'The Bibi Gur. Ladies quarters'. This is a copy of number 36 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato: 'The Residency, taken from the Redan'. See Introduction for notes on the negatives. Prison in foreground, with outer walls of fort beyond. Duplicate of Photo 1008/9 (2362). Another copy at Phot 3/2 (103).[Silver printing-out paper, 208x156mm]. Probably a Beato photograph. Probably a dak bungalow. General view with figures outside. Probably a different face of the house seen in print 3. Probably a mission church. Probably an old Rajput palace. Probably a print from Frith's Series (see Print 1). Probably a view in the fort at Belgaum. Probably by Bremner. Probably by Bremner. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Gill. Similar view at ASIO 1961. Probably by Gill. The location on the copy negative has been given as Amraoti (Amravati) which could make this the Amba Devi temple. Probably by Johnston. Probably by Nicholas Bros. Probably by Nicholas Bros. Probably by Nicholas Bros. Probably by Robert Phillips. European group outside a house with servants and horses. Tea pickers with baskets are standing on the right. Probably by the same photographer as Print 2. Probably from same location as preceding print. Probably half a stereograph by Gill. Probably half a stereograph by Gill. Probably no. 1256 in the Bourne & Shepherd catalogue, 'The Mausoleum of Akbar, from an angle of the first terrace.'[Albumen print, 83x96mm]. Probably on the platform of the Shwe Dagon Pagoda. Probably photographed by Gobindram & Oodeyram. Probably Sach�. Probably taken in the same period as print 230. Probably the Sheesh Gumbad, a tomb near the Bara Gumbad. From north-west. Probably the tomb identified as the Dome of Parwez in Syad Muhammad Latif,'Lahore: its history, architectural remains and antiquities' (Lahore, 1892), p. 160. Processional frieze carved in relief on an unspecified wall. Processional friezes carved in relief on outer wall of the temple. Published in George W. Bird, Wanderings in Burma (Bournemouth and London, 1897). Printed version from the slides used by Temple to illustrate a lecture on Developments in Buddhist Architecture. See the list Titles of Slides accompanying this collection. Note on the mount reads: 'Explain chaityas - stupa with pedestal & sikra of repeated umbrellas one on top of the other - at Amaravati [?] & umbrellas over all topes & chaityas'. Duplicate at TBU Photo 242/1 (11). Published in George W. Bird, Wanderings in Burma (Bournemouth and London, 1897). Printed version from the slides used by Temple to illustrate a lecture on Developments in Buddhist Architecture. See the list Titles of Slides accompanying this collection. Note on the mount reads: 'tagondain = sacrificial post or lamp with [?] on the top as an ornament'. Published in George W. Bird, Wanderings in Burma (Bournemouth and London, 1897). Printed version from the slides used by Temple to illustrate a lecture on Developments in Buddhist Architecture. See the list Titles of Slides accompanying this collection. Various rough notes on the mount regarding architectural elements. Pupils and staff posed in front of the school, built to European designs. Caption notes read: 'Marimallappa was a Bakshi, or head of a department of the palace under Krishna Raja Wodeyar III, who, having no heirs, left his wealth for the promotion of education. The building was erected in 1886 and educated boys up to the Matriculation standard.' Pupils posed in front of the single storey brick building. Qutb Minar with Alai Darwaza in foreground. Railing coping fragments: Elliot (Madras) no. 59, Knox (1992) no. 34, Elliot (Madras) no. 60, Knox (1992) no. 33; dome slabs: Elliot (Madras) no. 111, Knox (1992) no. 95, Elliot (Madras) no. 112, Knox (1992) no.91. Railing copings: Elliot (Madras) no. 65, Knox (1992) no. 45, Elliot (Madras) no. 104, Knox (1992) no. 42; railing crossbar roundel: Elliot (Madras) no. 124, Knox (1992) no. 29; dome slabs: Elliot (Madras) no. 113, Knox (1992) no. 90, Elliot (Madras) no. 67, Knox (1992) no. 96. Railing pillar is Elliot (Madras) no. 18, Knox (1992) no. 8; coping stone is Elliot (Madras) no. 1, Knox (1992) no. 41. Railway station in background. Raja Birbal's House at the north-west corner of the Palace. Raj Mandir at left, Jahangir Mandir at right. Raj Mandir at left, Jahangir Mandir at right. Rajput group standing in front of the Elephant Gate. Ramayana scenes carved on the south face of the mahamandapa. Ramparts and terraces of the palace, with a ghat, decorated with murals of elephants and horses, leading down to the water's edge. Rare fa�ade of double temple. Ravana shaking Kailasa, Shiva and Parvati seated above. Ravana shaking Kailasa. Ravan shaking Kailasa, with Shiva and Parvati seated above. Rear view. From south-west. Rear view from the gardens. Rear view of a monolithic Gommateshvara image standing 13m high. Rear view of La Martini�re or Constantia. Rear view of temple. Reproduced in Henry Cousens, 'The Chalukyan Architecture of the Kanarese Districts' (ASI, vol. 42, Imperial series, Calcutta, 1926), plate 25 (top). Faded print. Rear view of temple shikara. Rear view of the bungalow in Print 41. Rear view of the Govind Mandir from the lake. Rear view of the massive headless chinthes in front of the Mingun Pagoda, with the Irrawaddy River beyond. Letterpress continues: 'In front of the Pagoda. These were 95 feet high; but, like the latter, were shattered by the earthquake of 1839. The heads and necks lie scattered about their pedestals in masses'. Recessed panel with seated Buddha image in Dharmachakra mudra. Recreation block for sergeants and other ranks. Rectangular panel with image of vase: Elliot (Madras) no. 79, Knox (1992) no. 128; top portion of dome slab: Elliot (Madras) no. 42, Knox (1992) no. 97; fragment of drum slab: Elliot (Madras) no. 505, Knox (1992) no. 66; fragment of railing coping: Elliot (Madras) no. 58, Knox (1992) no. 32. Rectangular structure with arcade, possibly a viewing position. Precise function unknown, but the designation 'treasury' is probably fanciful. Reference 'B3' (detail). Middle right portion of print 6020. References to print 840 apply. Relief carving of dvarapala or guardian figure. Relief carving of elephants on rock face. A faded print.[Albumen print, 142x104mm]. Relief panel, broken diagonally and wanting upper half. Relief panel, upper half damaged. Relief panel with seated Buddha image. Relief panel with seated Buddha image (lacking head). Relief sculpture. Relief sculpture in niches on the temple wall. Relief sculpture in the Varaha Cave Temple: 'The god is represented in the left end as shown in the Photograph in the Varaha Avatar, or boar incarnation - the third of that god'. Duplicate (later printing) of Photo 1000 (3078). Another copy at Photo 212/5 (24). Relief sculpture in the Varaha Cave Temple: 'They face the entrance, and represent female deities, more probably Lakshmi, with different attributes and accompanied by attendants'. Duplicate (later printing) of Photo 1000 (3080). Another copy at Photo 212/5 (26). Relief sculpture of Buddha image in dhyana (meditation) mudra, in the rock-cut Isurumuniya Temple at Anuradhapura.[Albumen print, signed 'Lawton' in the negative, 282x215mm]. Relief sculpture of seated Nagaraja couple in niche. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2092). Relief sculptures of dvarapalas on either side of doorway. Religious image above altar. Remains of a gateway into the fort. Remains of artificial reservoir. From north-west. Remains of sanctuary tower. Remains of wall and sculpture fragments. Remains of wall and sculpture fragments. Replica Taj in the compound of the Husainabad Imambara. Reprduced as a text illustration in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 123. Reprduced as a text illustration in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 123. Reproduced as a lithograph in A. Cunningham, 'Report of a tour in the Central Provinces and Lower Gangetic Doab in 1881-82' (A.S.I. vol. XVII, Calcutta, 1884), pl. xvi. Reproduced as a lithograph in A. Cunningham, Report of a tour in the Central Provinces in 1873-74 and 1874-75 (A.S.I. vol. IX, Calcutta, 1879), pl. xi, and described pp. 41-47. The remainder of the temples at this site had apparently been destroyed by a railway contractor for stone. Reproduced as a lithograph in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pl. xviii, and described p. 48. Cunningham lists this as Cave 4, George Michell (The Penguin guide to the monuments of India, vol. I, London, 1989, p. 192), gives location as Cave 5. Reproduced as a lithograph in A. Cunningham, Report of tours in the Gangetic provinces from Badaon to Bihar, in 1875-76 and 1877-78 (A.S.I. vol. XI, Calcutta, 1880), pl. vi. Reproduced as a lithograph in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pl. ii. Reproduced as a lithograph in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pl. v. Reproduced as a lithograph in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pl. vi. Reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. ii. Reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. v. Reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. vi. Reproduced as an illustration in John H. Marshall and J. Ph. Vogel, Excavations at Charsada in the Frontier Province (ASI Annual Report 1902-03, Calcutta, 1904, pp. 141-84). Reproduced as an illustration in John H. Marshall and J. Ph. Vogel, Excavations at Charsada in the Frontier Province (ASI Annual Report 1902-03, Calcutta, 1904, pp. 141-84). Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Meywar), pl. 1. Reproduced as a photogravure in H. H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Meywar), pl. 2. Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Meywar), pl. 2. Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Meywar), pl. 3. Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 1: 'The Jalnavas, or 'fountain palace', was built in A.D. 1828 by Jawan Singh close to the margin of the lake, and forms a ghat for landing or embarkation. The columns are square and of a plain Hindu design, the wall at the back being decorated with coloured glass mosaic, representing figures of women and the Rajput peacock. Water channels and founrains edge the wall and render the pavilion cool and pleasant.' Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 3. Signed in the negative O.S. Baudesson 1882. Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 4. Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 5. Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Meywar), pl. 1. Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Meywar), pl. 3. Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 1: 'The Jalnavas, or 'fountain palace', was built in A.D. 1828 by Jawan Singh close to the margin of the lake, and forms a ghat for landing or embarkation. The columns are square and of a plain Hindu design, the wall at the back being decorated with coloured glass mosaic, representing figures of women and the Rajput peacock. Water channels and founrains edge the wall and render the pavilion cool and pleasant.' Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 3. Signed in the negative O.S. Baudesson 1882. Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 4. Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 5. Reproduced as a text illustration in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), fig. 41, and described p. 146: '...a very interesting column in the middle of the village. It stands upon a raised mound, and reaches a height of over thirty feet, although the breadth of the shaft measures no more than fifteen inches. The top is finished off with a spreading octagonal moulded capital, which is surmounted by a broad abacus or slab. Upon this stands a statue of the fabulous two-headed bird, the ganda-bherunda, supposed to have been the mortal enemy of elephants and to have fed upon their flesh...An inscription on the base of the column records its erection...in Saka 969 (A.D. 1047)...' Reproduced as a text illustration in Henry Cousens, The Chalukyan architecture of the Kanarese Districts (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), fig. 41, and described p. 146: '...a very interesting column in the middle of the village. It stands upon a raised mound, and reaches a height of over thirty feet, although the breadth of the shaft measures no more than fifteen inches. The top is finished off with a spreading octagonal moulded capital, which is surmounted by a broad abacus or slab. Upon this stands a statue of the fabulous two-headed bird, the ganda-bherunda, supposed to have been the mortal enemy of elephants and to have fed upon their flesh...An inscription on the base of the column records its erection...in Saka 969 (A.D. 1047)...' Reproduced as No 88 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Reproduced as pl. xxvi (b) of Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926). Reproduced as pl. xxvi (b) of Henry Cousens, The Chalukyan architecture of the Kanarese Districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926). Reproduced as text illustration in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 99, and described pp. 98-106. Reproduced as text illustration in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), p. 99, and described pp. 98-106. Reproduced Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xix (a). The view looks directly across the most towards the great arch of the Gagan Mahal, with the Sat Manzili in the right background. Reproduced Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xix (a). The view looks directly across the most towards the great arch of the Gagan Mahal, with the Sat Manzili in the right background. Reproduced in 'The Geographical Journal' of December 1901. Duplicate at Photo 784/1 (17). Reproduced in autotype in Alexander Cunningham, 'The Stupa of Bharhut' (London, 1879), pl. x. Duplicate (in better condition) at Photo 1000 (2230). Reproduced in autotype in Alexander Cunningham, The Stupa of Bharhut (London, 1879), pl. x. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 204). Green-toned print mounted on card with typescript caption.[308x186mm]. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 124, there titled, 'Memorial arch in Ssuch'uan.' Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 22, there titled, 'Bronze dragon in the Lama Temple, Peking'. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 295, there titled, 'Windmill in Husseinabad': 'Husseinabad...is little more than a collection of small-domed mud houses, built irrespective of ground-plan, wheresoever fancy dictated, in the middle of a vast plain. Here and there a windmill of curious shape stands up conspicuous among the surrounding houses, usually stationary during the winter months, but wanting only the fierce blasts of the 'Bad-i-sad-o-bist roz' or wind of a hundred and twenty days, which blows unceasingly throughout the summer months, to rouse it to a state of wild activity.' Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 370, there titled, 'The Old Fort, Birjand.' Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 96. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cvi (b), and described p. 116: 'A group of small buildings, which goes by the name of Allah Babu's Mosque and Tomb, not far to the south-west of the Gol Gumbaz, shews how debased the style had become by the end of the Adil Shahi period. Placed upon a very high basement, under which is a series of burial vaults, these little buildings are more conspicuous than interesting from any historical associations...They are badly built of rubble and plaster, and consist of a small square tomb pavilion and a mosque. What is most noticeable is the very stilted, narrow-necked domes. The dome has, practically, parted company with the ceiling and roof...It is a mere ornamental excrescence upon the roof...As the tomb pavilion stands in front of the addition to the north end of the mosque, which is, in fact, and older and very much more roughly-built mosque, it is possible that the grave was, at first, without shelter, in the open, beside which this old mosque was built. Subsequently, the pavilion was built over it, together with the newer mosque to match, the older one just being allowed to remain...' Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ix (b), and described pp. 47-49. Cousens brackets this building with Ibrahim's Old Jami Masjid (see print 1821), since both share the architectural feature of placing minars over the central piers of the fa�ades. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxii (a); the new capital of Nauraspur at Torweh to the west of Bijapur is described pp. 82-84. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 165: 'In the Sangat Mahal at Torweh, four miles west of Bijapur, we have a duplicate of this building [the Gagan Mahal], though not quite so large, the roof of which is in great part remaining, and here may be studied the manner in which the Gagan Mahal was roofed over.' Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxii (a); the new capital of Nauraspur at Torweh to the west of Bijapur is described pp. 82-84. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 165: 'In the Sangat Mahal at Torweh, four miles west of Bijapur, we have a duplicate of this building [the Gagan Mahal], though not quite so large, the roof of which is in great part remaining, and here may be studied the manner in which the Gagan Mahal was roofed over.' Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxii (b) and described p. 86: 'The mosque, within, is a neat little building. It possessed a very fine cornice and brackets, and has a rich parapet along the top. The minarets, however, are not quite in keeping with the rest. They are very primitive looking and inelegant, and compare very unfavourably with those of the gateway, being nothing more than tall, tapering, round shafts, with a ring of leaves about half-way up to break the monotny of their outline...The masonry of the building is fair, but not nearly so good as that of the Anda Masjid...There is no dome over the mosque, the roof being flat.' Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxiii (a). Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxxii (a) and described pp. 95-97: '...a very lofty and substantially built edifice. The fa�ade has three tall arches, the central one being very much wider than the side ones; and, being almost devoid of ornament, the front has rather a bald appearance. A deep heavy cornice overhangs the arches; and the octagonal buttresses, which were to carry minarets, flank the fa�ade of the building. But the minarets were never built...' Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. v. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xcviii (b). Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xliv. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xlv: 'The exterior walls of the sepulchral chamber are most elaborately decorated with shallow surface tracery of arabesque and interlaced writing from the Quran, the whole text of which is said to be inscribed upon the four walls...' (p. 73) Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xlvii: 'The doors are of teak, are divided into carved panels with Arabic writing, and are furnished with deep rails and styles carrying gilt iron bosses. The photograph... shows the west door, with its surrounding work upon the walls, in which it will be seen how well its design harmonises with the latter...' Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xx (a). Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xxi Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xxvi (b) and described p. 63: 'The fa�ade of the mosque is very pleasing from the effect obtained by the introduction of a great number of receding lines of moulding round the raches, giving them a deep-set appearance; and these lines are carried down the piers. The outer ring of arch-moulding is cusped, and the spandrels are ornamented with beautifully designed medallions in stucco. Altogether this is a very successful little building of its class...' Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. c. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1365). Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliii (a). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1337). Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliv (b). Photograph taken during the Western Circle survey season of 1892-93. Variant print (almost identical) at Photo 1009/1 (1342). Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxxxviii (a), and described, p. 126: 'The remains now consist of several ruined temples, chief among them being that called the Chaturmukha-Basti, a cruciform-planned temple having four porches, one facing each of the four cardinal points...The temple contains in its central shrine, which has four doors, the chaumukha or chaturmukha, which is a square altar or pedestal with four seated life-size Jinas, one on each side of the square facing each door. The spire, if it ever had one, has disappeared. Around the temple was a verandah, the solitary columns of which still stand, the roof slabs having been removed.' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1353). Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxxiii (a). The temple, similar in design, though smaller than the Kashivishveshvara Temple and situated just to the west of it. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxxiii (b), but not described in text. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cvi (b), and described p. 116: 'A group of small buildings, which goes by the name of Allah Babu's Mosque and Tomb, not far to the south-west of the Gol Gumbaz, shews how debased the style had become by the end of the Adil Shahi period. Placed upon a very high basement, under which is a series of burial vaults, these little buildings are more conspicuous than interesting from any historical associations...They are badly built of rubble and plaster, and consist of a small square tomb pavilion and a mosque. What is most noticeable is the very stilted, narrow-necked domes. The dome has, practically, parted company with the ceiling and roof...It is a mere ornamental excrescence upon the roof...As the tomb pavilion stands in front of the addition to the north end of the mosque, which is, in fact, and older and very much more roughly-built mosque, it is possible that the grave was, at first, without shelter, in the open, beside which this old mosque was built. Subsequently, the pavilion was built over it, together with the newer mosque to match, the older one just being allowed to remain...' Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ix (b), and described pp. 47-49. Cousens brackets this building with Ibrahim's Old Jami Masjid (see print 1821), since both share the architectural feature of placing minars over the central piers of the fa�ades. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxii (b) and described p. 86: 'The mosque, within, is a neat little building. It possessed a very fine cornice and brackets, and has a rich parapet along the top. The minarets, however, are not quite in keeping with the rest. They are very primitive looking and inelegant, and compare very unfavourably with those of the gateway, being nothing more than tall, tapering, round shafts, with a ring of leaves about half-way up to break the monotny of their outline...The masonry of the building is fair, but not nearly so good as that of the Anda Masjid...There is no dome over the mosque, the roof being flat.' Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxiii (a). Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxxii (a) and described pp. 95-97: '...a very lofty and substantially built edifice. The fa�ade has three tall arches, the central one being very much wider than the side ones; and, being almost devoid of ornament, the front has rather a bald appearance. A deep heavy cornice overhangs the arches; and the octagonal buttresses, which were to carry minarets, flank the fa�ade of the building. But the minarets were never built...' Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. v. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xcviii (b). Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xliv. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xlv: 'The exterior walls of the sepulchral chamber are most elaborately decorated with shallow surface tracery of arabesque and interlaced writing from the Quran, the whole text of which is said to be inscribed upon the four walls...' (p. 73) Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xlvii: 'The doors are of teak, are divided into carved panels with Arabic writing, and are furnished with deep rails and styles carrying gilt iron bosses. The photograph... shows the west door, with its surrounding work upon the walls, in which it will be seen how well its design harmonises with the latter...' Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xx (a). Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xxi Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xxvi (b) and described p. 63: 'The fa�ade of the mosque is very pleasing from the effect obtained by the introduction of a great number of receding lines of moulding round the raches, giving them a deep-set appearance; and these lines are carried down the piers. The outer ring of arch-moulding is cusped, and the spandrels are ornamented with beautifully designed medallions in stucco. Altogether this is a very successful little building of its class...' Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. c. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliii (a). Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliv (b). Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxxxviii (a), and described, p. 126: 'The remains now consist of several ruined temples, chief among them being that called the Chaturmukha-Basti, a cruciform-planned temple having four porches, one facing each of the four cardinal points...The temple contains in its central shrine, which has four doors, the chaumukha or chaturmukha, which is a square altar or pedestal with four seated life-size Jinas, one on each side of the square facing each door. The spire, if it ever had one, has disappeared. Around the temple was a verandah, the solitary columns of which still stand, the roof slabs having been removed.' Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxxiii (a). The temple, similar in design, though smaller than the Kashivishveshvara Temple and situated just to the west of it. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxxiii (b), but not described in text. Reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 86. Another copy at Photo 752/12(68). Reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 86. Another copy at Photo 96/3(34). Reproduced in photogravure in Agra and Gwalior, H.H. Cole, 'Preservation of national monuments in India' (vol II, part 6, Agra and Gwalior), pl. 5 and there credited to Bourne & Shepherd: 'The Chattris of the Scindias in the modern town are of solid construction and beautiful design. The example illustrated unites an unusual simplicity of outline with great elaboration of detail. Excepting some of the buildings at Udaipur in Rajputana, this is one of the most successful modern princely buildings I know in India. Unfortunately it is thought necessary to periodically whitewash the walls, and the sharp outline of the sculptures is disappearing.' Reproduced in photogravure in Agra and Gwalior, H.H. Cole, Preservation of national monuments in India (vol II, part 6, Agra and Gwalior), pl. 4 and there credited to Bourne & Shepherd. Reproduced in photogravure in Agra and Gwalior, H.H. Cole, Preservation of national monuments in India (vol II, part 6, Agra and Gwalior), pl. 5 and there credited to Bourne & Shepherd: 'The Chattris of the Scindias in the modern town are of solid construction and beautiful design. The example illustrated unites an unusual simplicity of outline with great elaboration of detail. Excepting some of the buildings at Udaipur in Rajputana, this is one of the most successful modern princely buildings I know in India. Unfortunately it is thought necessary to periodically whitewash the walls, and the sharp outline of the sculptures is disappearing.' Reproduced in photogravure in Agra and Gwalior, H.H. Cole, Preservation of national monuments in India (vol II, part 6, Agra and Gwalior), pl. 6 and there credited to Bourne & Shepherd: 'Many of the shops in the principal street of the Lashkar are decorated with projecting balconies of carved stone pillars and screen work. Although whitewashed like everything else, the houses are most picturesque and pleasing in appearance. Such architecture is capable of application to modern Indian bazaars, and furnishes models for the various municipalities that are now trying to introduce improvements throughout the Empire.' This photograph focusses on the projecting balcony of the private quarters above the commercial premises on the ground floor. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 72. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 76. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 85. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 94. With the entrance to the hospital in the left background and the Ankh Michauli at the right. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 2, pl. 43. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 43. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 63. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 85. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 91. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 10. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 17. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 1a. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 21. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 34. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 50. Printed from a broken glass plate. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 63. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 80. Reproduced in photogravure in Vincent A. Smith, 'The Jain Stupa and other antiquities of Mathura' (Allahabad, 1901), pl. 4. Reproduced in Ray Desmond, 'Victorian India in Focus' (HMSO, 1982), p.92. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 74. 'Mastuj, the capital of the district, is merely the fort in which the governor occasionally resides. The fort is situated in the middle of a gently sloping plain between the Yarkhun and Laspur rivers, and is a square structure of mud and stone, with towers at the angles. It is about 50 yards square...Though tactically the fort of Mastuj is of no importance, strategically the position is most important, commanding as it does the routes to Chitral, Gilgit, Yasin, Baroghil, and Dir. At Mastuj is the first permanent bridge (not including rope-bridges), across the Yarkhun river.'[Albumen print, 253x186mm]. Reproduction postcard. Residence of J.W. Buyers. Residence of Robert Clarke? Rest house converted from an old tomb or mosque. From north-west. Richly-carved columns and ceiling of interior of Adinatha Temple. Richly-carved niche in the temple, housing a tirthankara image, which is not visible due to the oblique angle of view (but see print 2089). Richly-carved pillars with rearing horses and riders. Duplicate (later printing) of Photo 1000 (3059). Another copy at Photo 212/5 (3) Richly-carved temple gateway. Duplicate at Photo 10/6 (27). Richly-carved temple gateway. Duplicate at Photo 17/3 (22). Richly decorated entrance gateway to the Chandra Mahal. Right half of a two-part panorama. From east. Right half of a two-part panorama. Right half of two-part panorama. Right-hand section of Arjuna's Penance sculpture, with elephants at base. Seen here before excavation, with lower portion below ground. Duplicate (later printing) of Photo 1000 (3071). Another copy at Photo 212/5 (17).Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Right-hand section of four-part panoramic view, comprising prints 311-314. (Ancient Persis Map A2). Right-hand section of panoramic view of triple-shrined (Shiva?) temples on Hemakuta Hill, with the north gopura of the Virupaksha Temple in the right background. Left-hand section in print 707. Right-hand section of Saptamatrikas panel. Right-hand section of three-part panorama, comprising prints 446-448. Right-hand section of three-part panoramic view, comprising prints 127, 129 and 131. Innermost Asia, vol. 1, fig. 133: 'Panoramic view of interior of ruined Fort L.K., Lop Desert, taken from north corner. Remains of dwelling I in centre; timber debris of completely eroded large structure, III, in foreground; on extreme left quarters iii, iv in course of excavation; wind-erorded terrace on right marks western corner of circumvallation.' (I.A. Map 29, D4). Right-hand section of two-part panoramic view, comprising negatives 10-11. Duplicate negative from a nitrate original now destroyed: no print. Right-hand section of two-part panoramic view, comprising prints 119-120. Right-hand section of two-part panoramic view, comprising prints 157-158. Right-hand section of two-part panoramic view, comprising prints 163-164. Right-hand section of two-part panoramic view, comprising prints 200-201. Right-hand section of two-part panoramic view, comprising prints 221-222. Right-hand section of two-part panoramic view, comprising prints 25-26. (Ancient Persis Map, A3). Right-hand section of two-part panoramic view, comprising prints 279 and 283 (print 280 is incorrectly labelled as the left-hand section). Right-hand section of two-part panoramic view, comprising prints 352-353. Right-hand section of two-part panoramic view, comprising prints 358-359. Right-hand section of two-part panoramic view, comprising prints 63-64. Right-hand section of two-part panoramic view, continued from print 178. Innermost Asia, vol. 2, fig. 312: 'Mazar of the 'Seven Sleepers, Toyuk, looking towards mouth of gorge.' (I.A. Map 28, D3). Right-hand section of two-part panoramic view, continued from print 224. Innermost Asia, vol. 2, fig. 326: 'General view of northern area of ruined town of Yar-khoto, seen from south.' (I.A. Map 28, B3). right-hand section of two-part panoramic view, continued from print 256. Right-hand section of two-part panoramic view, continued from print 382. Right-hand section of two-part panoramic view, continued from print 384. Right-hand section of two-part panoramic view, continued from print 63. Innermost Asia, vol. 1, fig. 131: 'Panoramic view of wind-eroded ground near ruined structures, N. LXIV, Niya site. Remains of structures, N. XLIV, on terrace on right; ground occupied by ancient vineyard on extreme left.' (I.A. Map 19, B1). Right-hand section of two-part panoramic view, continued from print 89. Innermost Asia, vol. 1, fig. 243: 'West face of circumvallation of Khara-khoto, with Muhammadan tomb at south-west corner.' (I.A. Map 45, C1). Right-hand section of two-part panoramic view comprising prints 17-18. Shigatse Dzong is visible in the right background of this print. Right-hand section of two-part panoramic view of Buddhist vihara or monastery, continued from print 221. Innermost Asia, vol. 2, fig. 331: 'Ruin of large Buddhist sanctuary, Yar. II, Yar-khoto, seen from south.' (I.A. Map 28, B3). Right-hand section of two-part panoramic view of the palace from south, comprising prints 5-6. This print is fig. 3 of Ancient Persis. (Ancient Persis Map, A3). Right-hand side of print reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlv (b). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1348). Right-hand side of print reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlv (b). Right portion of a two-part panorama. Right section of three-part panorama. From south-east. Right side of a panorama. Right side of a panoramic view. Right side of a panoramic view. Right side of a panoramic view of court. Right side of a three-part panorama. Right side of a two-part panorama. Right side of panorama. Right side of panorama. Right side of panorama. Right side of panorama. Right side of two-part panorama. From south. Right side of two-part panorama. From south-west. Riverfront fa�ades of a row of houses. River goddess Sarasvati on lotus in the Shrine of the River Goddesses.. Roadway between the two halves of the gopura, which looks like little more than a tall wall: '[The gopuras] on the north and south are hardly higher than the wall in which they stand, and are consquently called the ruined gateways. They are, however, of comparatively modern date, and, in fact, have never been raised higher..' (James Fergusson, 'History of Indian and Eastern Architecture' (vol. I, London, 1910 edition) p. 382.) Roadway between the two halves of the gopura, which looks like little more than a tall wall: '[The gopuras] on the north and south are hardly higher than the wall in which they stand, and are consquently called the ruined gateways. They are, however, of comparatively modern date, and, in fact, have never been raised higher..' (James Fergusson, History of Indian and Eastern Architecture (vol. I, London, 1910 edition) p. 382.) Roofless interior of mosque. Roof top pavilion. Room decorated with lanterns in Chinese style.[Gelatin silver print, 288x236mm]. Room divided by richly-decorated partition of cusped arches. Duplicate (later printing) of Photo 1000 (3101). Another copy at Photo 212/6 (3). Room in the church filled with drums, small cannon and other weapons.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x199mm]. Rooms decorated in Chinese style.[Gelatin silver print, 282x236mm]. Round temple. Round tower and wall. Row of Buddha images. Row of chortens and Buddha images inside the monastery. Row of columns (originally Hindu) in the Quwwat-ul-Islam Mosque. Row of excavated brick-built monastery cells. Row of four wall plaques. Row of sculpted pillars inside the Pudu Mandapa. Duplicate (later printing) of Photo 1000 (2925). Another copy at Photo 212/1 (26). Row of sculpted pillars inside the Pudu Mandapa. Duplicate (later printing) of Photo 1000 (2926). Another copy at Photo 212/1 (26). Row of sculptured figures in niches: 'The first figure to the right hand seems to be an Apsara; the second, the Hindoo Trimurti; the bearded face of Brahma in the centre; in the third, I recognise Brahma by the rosary; the fourth, Vishnu, and the fifth, Siva and Parvati.' Row of seven Manushi Buddha images from left. Row of seven Manushi Buddha images from right. Row of towered shrines in the Lakshmi Narayana complex of temples. Royal cenotaph at Kota. Royal cenotaphs at Kota. Royal cenotaphs near Udaipur. Duplicate at Photo 10/12 (31). Ruined buildings on hillside. Vignetting at edge of print. Ruined fort on the road between Saugor and Deori. Ruined fortress gateway. Ruined gateway in left foreground, with mosque beyond. The building is identified as the Nau Gumbaz in Henry Cousens, 'Bijapur and its architectural remains' (ASI, vol. XXXVII, Imperial series, Bombay, 1916), pl. lxxiii. Ruined mandapa in foreground, with gopura beyond. Ruined porch of the Sawi Masjid. From east. Ruined temple. Ruined tomb, partially overgrown with vegetation. Duplicate at volume 7, no. 821, of Archaeological Remains series, where it is identified as Sikander Shah's Roza. Ruined tower with platform and octagonal structure. Ruined wall and dalan or hall, on the south bank of the tank. Ruined walls of citadel. Ruins at Khimlasa. Ruins of arched gateway. Print in very poor condition. Ruins of a small temple at Kother, three miles west of Achibal. Ruins of a two-storeyed octagonal pavilion in one of the enclosures south-west of the Ramachandra Temple. Another copy of this print at Photo 1000 (3146) and Photo 212/7 (8). Ruins of a two-storeyed octagonal pavilion in one of the enclosures south-west of the Ramachandra Temple. Duplicate (later printing) of Photo 1000 (3146). Another copy at Photo 212/7 (8). Ruins of Dr Fayrer's House in the Residency. Ruins of fort in foreground, with open land towards Turbat beyond. Ruins of gateway leading to the river crossing to Anegondi. Duplicate (later printing) of Photo 1000 (3155). Another copy at Photo 212/7 (17). Ruins of open-sided multi-domed pavilion. Ruins of Siddhanath Temple. Ruins of step-well. Duplicate at volume 7, no. 827, of Archaeological Remains series. Ruins of the Arhai-din-ka-Jhonpra Mosque. Ruins of the Avantisvamin Temple. Ruins of the Bibi Kanum Mosque. Ruins of the Dilkusha, with formal gardens (in European style) laid out in foreground. Most of the central portion of the building has been destroyed, with only the two corners towers remaining. Ruins of the Dilkusha from the garden. Ruins of the Hauz Khas Ruins of the Residency destroyed during the rebellion of 1891. Ruins of tower on hillside, with other buildings beyond. Sach�'s number 680 puts it in or near the same location as Print 137 (Sach�'s number 681) which is similarly unidentified. Salt print.General view from across the Gumti looking along the facade of the Chattar Manzil, still showing extensive signs of shell damage from the Indian Mutiny in 1857. Salt print from a wet collodion negative, 156 x 207 mm. Duplicate of print 5. Same as print 10.[Gelatin silver print, 128x132mm]. Same as print 128. Same as print 83.[Gelatin silver print, 104x61mm]. Same as print 84.[Gelatin silver print,105x61mm]. Same building as Print 27. Same building as print 818. Same building in Print 13. Same church as Print 76. Same complex as No. 2739? From east. Same house as seen in Print 93.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Same location as 21. Same pagoda as seen in print 22. Second copy negative at B.25623. Same party as seen in Print 38. Same piece seen in print 2114, seen from a different angle. Same piece seen in prints 2114-15, seen from a different angle. Same subject as print 194, but a poorer quality image. (I.A. Map 28, C3). Same subject as print 211, but a poorer quality view. (I.A. Map 28, C3). Same subject as print 77. (I.A. Map 30, B2). Same temple as Print 80. Same view as Print 13. Same viewpoint as print 161, but a successful photograph. (Ancient Persis Map B2). Sanctuary tower in background out of focus. Satnding (?)Jain image, Elliot (Madras) No. 7, not listed in Knox (1992); pillar fragments: Elliot (Madras) no. 71, Knox (1992) no. 115, Elliot (Madras) no. 70, Knox (1992) no. 111; cushion capital (now lost): Elliot (Madras) not listed, Knox (1992) no. 117f; stepped capital base from a pillar: Elliot (Madras) no. 73, Knox (1992) no. 117e; image of Bodhisattva Cunda: Elliot (Madras) no. 80, Knox (1992) no. 126; guardian lion: Elliot (Madras) no. 87, Knox (1992) no. 119. Scene in the courtyard of a caravanserai. For another copy of this print, see Mss Eur C313/42, where the location is identified as Tehran.[Gelatin silver print, 130x90mm]. School opened in 1868. Screened reproduction. Screen of arches in inner courtyard of the Jahangiri Mahal. Screen of arches of the Arhai-din-ka-Jhonpra Mosque, built from reused Hindu and Jain masonry from other local temples. Screen of cusped arches of the north piazza. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 18. Sculptural detail on inner face of gopura. Sculptural fragment. Sculptural fragment from (?) base of stupa. Sculptural fragments. Sculptural fragments (damaged). Sculptural slab of a dancing woman. Reproduced as a lithograph in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pl. viii(a). Sculptural slab of a dancing woman. Reproduced as a lithograph in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pl. viii(b). Sculptural slab of a dancing woman. Reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. viii(a). Sculptural slab of a dancing woman. Reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. viii(b). Sculptured figure in niche between two engaged columns. Sculptured figure of dancing woman on pier in temple. Sculptured figure of Vishnu. Sculptured figures on pier. Sculptured frieze in three sections. Faded print. Sculptured panel of marriage of Shiva and Parvati. Sculptured panel of Virabhadra (vengeful form of Shiva) in Dumar Lena cave temple. Duplicate (later print) at Photo 97 (17). Sculptured pillar, photographed with background of negative blocked out. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xliv, 1. Duplicate (later printing) of Photo 1000 (2210). Sculptured pillar. Sculptured slab with inscription beneath. Sculpture fragment, portion of architrave, with lintel supported on curved brackets, and carved panels above. 'The principal figure in the upper panel is much mutilated, but seems to be a representation of Krishna upholding the mountain Govarddhana to protect the Gopis and their herds from the wrath of Indra manifested by a deluge of rain...Beneath this is a band in which occurs the female counterparts of Brahma (?), Siva and Vishnu, whilst occupying the centre of the lower band is Ganapati...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 13). Sculpture in shrine, with background blocked out in negative. Sculpture inside the cave temple. Sculpture of (?)Matanga seated in lalitasana on an elephant. Sculpture of elephant on plinth, carved in the round. Sculpture of Ganesha in niche. Sculpture of horse on plinth, carved in the round. Sculpture of Hoysala king in combat with the lion. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl.cx. See also print 2600. Sculpture of Hoysala king in combat with the lion. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese Districts (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl.cx. See also print 2600. Sculpture of Shiva and Parvati playing dice. Sculpture of standing figure with hands joined in prayer. A note in Geraldine Mitton's hand reads: 'This is one of the statues found on the platform of Ruanveli and may be that of King Bhatikabhaya who was so pious that he wore holes in the granite slabs with his knees in praying. Date AD 42.'[Albumen print, signed 'Lawton' in the negative, 150x197mm]. Sculpture of two figures with linga. Sculpture panel. Sculpture panel inside the Shiva Temple. Sculpture panel of Saptamatrikas. Sculpture panel of Tripurantaka (Shiva as destroyer of Tripura). Sculpture panel on wall with two seated Jain tirthankaras. Sculpture panels with erotic couples. Sculpture panel with Buddha and other figures. Faded print. Sculpture panel with Buddha images. Sculpture panel with erotic couples. Sculpture panel with figures. Sculpture piece (damaged). Sculpture piece of Garuda, also seen in print 448. Sculpture pieces, photographed with background of negative blocked out. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xliv, 3, pl. liv, 2. Duplicate (later printing) of Photo 1000 (2212). Sculpture pieces, photographed with background of negative blocked out. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xliv, 6 and 7, pl. xlv, 5, remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2211). Sculpture pieces and fragments photographed against a blocked-out background. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xlii, 3; xlvi, 4; lii, 5, remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2203). Sculpture pieces and fragments photographed against a blocked-out background. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xlii, 4 and 6, remaining piece unpublished. Duplicate (later printing) of Photo 1000 (2204). Sculpture pieces and fragments photographed against a blocked-out background. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xliii, 10; remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2207). Sculpture pieces and fragments photographed against a blocked-out background. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xliii, 12 and 13; xlix, 8; remaining pieces unpublished. Duplicate (later printing) of Photo 1000 (2208). Sculpture pieces and fragments photographed against a blocked-out background. James Burgess, The Buddhist Stupas of Amaravati and Jaggayyapeta (London, 1887), pl. xliii, 7, 8, 9 and 11; xlix, 3 (line drawing); liv, 7. Duplicate (later printing) of Photo 1000 (2206). Sculptures and pillars arranged in front of the museum. This is a closer view of the pieces seen in the centre of print 199. See note at print 199, also Frederick M. Asher, 'The Former Broadley Collection, Bihar Sharif' ('Artibus Asiae', vol. 32, 1970, pp. 105-124), where this photograph is reproduced as plate 4, with Broadley's original notes: 'Southern doorway. Pillars from the vestibule of the Nalanda Temple. Above a frieze from the Habi Khan Masjid, Bihar. Arch from Mobarukpur, and to the right of it the Charana found at Biswak. On the right side of the door, the Chandimau Buddha, on the left the goddess from Kalyanpur. To the extreme left the great Vajrasattva Buddha from Ghosrawan.'Credited to 'Dr Simpson', but possibly taken by Beglar. Sculptures in garden of museum, including a massive Vishnu, a seated Buddha and a nirvana scene. See note at print 199, also Frederick M. Asher, 'The Former Broadley Collection, Bihar Sharif' ('Artibus Asiae', vol. 32, 1970, pp. 105-124), where this photograph is reproduced as plate 3, with Broadley's original notes: 'The colossal figure from Dapthu. In the background the remains of the great doorway of Baladitya, dated 856, from Nalanda. In the centre the Sarthua Buddha, and a group of Chaityas.' The Dapthu Vishnu is now in the Indian Museum (accession no. A25294/4039). The Gadadevi image at the foot of the sculpture has been separated from it and was traced by Asher to the Patna Museum.Credited to 'Dr Simpson', but possibly taken by Beglar. Sculpture slab, with Buddha image seated in padmasana, bhumisparsa mudra. Sculpture slab, with panels: lower slab shows Maya's dream, the upper slab (lacking top half) shows a seated Buddha image (lacking head) and a figure on horseback (the Great Departure?). Sculpture slab of a Jain tirthankara from the Sobhnath Temple site. Sculpture slab of figure seated on aquatic monster. Sculpture slab of unidentified figure. Sculpture slabs lined up along the fa�ade of the Bihar Museum. Bloch lists the items as: 'Aditya, Shiva and Parvati, Ganesha, Vishnu Avalokiseshvara, a slab with nine avatars, various female deities.' These pieces can also be seen in the more general view at print 199.See print 199 for a note on the collection. Sculpture slabs lined up in front of carved pillars in the grounds of the Bihar Museum. Bloch lists the items as: 'Twelve-armed Bodhitsattva, Buddhistic female deity, Durga, Avalokiteshvara, Vajravarahi, Vishnu.' See note at print 199. Sculpture slab with figure of Lakshmi flanked by two elephants, their trunks held above her, bathing her; situated 'Just inside the eastern gateway of the village' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898' p. 4).[Printing-out paper, 180x208mm]. Sculpture slab with full-length standing image of Surya. Sculpture slab with image of Vishnu. Plate 7b of J.Ph. Vogel, The Temple of Mahadeva at Bajaura, Kulu in Archaeological Survey of India. Annual Report 1909-10 (Calcutta, 1914), pp. 18-24. Sculpture slab with image of Vishnu. Plate 7c of J.Ph. Vogel, The Temple of Mahadeva at Bajaura, Kulu in Archaeological Survey of India. Annual Report 1909-10 (Calcutta, 1914), pp. 18-24. Sculpture slab with relief image of Durga. Sculpture slab with relief image of Ganesha. Sculpture slab with relief image of Vishnu. Sculpture slab with unidentified figure. Sculptures of 'Aditya, Vishnu, Vamanavatara, Kalkiavatara, and fragments'. Note by Bloch reads: 'The sculptures photographed while exhibited in the Bihar Museum were collected from various places in Bihar, and are now in the Indian Museum. A paper by Mr Broadley, dealing with this collection, was published in Journal of the Asiatic Society of Bengal, vol. XLI, part I, 1872, pp. 209-311.' See note at print 199.This view shows the group of pieces seen at the foot of the staircase in print 200. Sculptures of female figures in the Hall of Sacrifice. Sculpture with riderless horse and umbrella (as emblem of Buddha), passing beneath gateway of stupa. Duplicate (later printing) of Photo 1000 (2220). Seated Buddha. Seated Buddha figure. Seated Buddha image, in bhumisparsa mudra. The building housing this image was destroyed in March 1892, only a few day's after Oertel's visit. Plate 15 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). Seated figures of Buddha in a tazoung at Kemmendene. See also print 13. Seated image, lacking upper half of torso. Seated tirthankara image. Seaward view of a section of the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 253x193mm]. Second copy at print 63. Second copy neg at B.25635. Second copy neg at B.25636. Second copy neg at B.25637. Second copy neg at B.25641. Second copy neg at B.25646. Second copy neg at B.25648. Second copy neg at B.25658. Second copy neg at B.2826. Second copy neg at B.9556. Second copy neg at B.9558. Second copy negative at B.25609. Second copy negative at B.25613. Second copy negative at B.25621. Second copy negative at B.25622. Second copy negative at B.25629. Second copy of print 18. Second from left-hand section of four-part panoramic view, comprising prints 311-314. (Ancient Persis Map A2). Second from right-hand section of four-part panoramic view, comprising prints 311-314. (Ancient Persis Map A2). Section of bas-relief showing battle scene.*Extra print, not included in original published version.[Albumen print, 239x187mm]. Section of column or pillar carved with flower motifs. Section of frieze of elephants supporting the main temple. Section of frieze over doorway. Section of marriage of Shiva and Parvati panel. Section of painted wall with niches and inlaid mirror work. Section of Saptamatrikas panel, showing the four right-hand figures. Section of Saptamatrikas panel, showing the three left-hand figures. Section of the Iron Pillar lying in the museum grounds. Section of the massive ruined wall of the palace. Section of the shrine showing large, painted figures. Section of wall, almost completely obscured by vegetation. Section of wall. Section of wall and overgrown bastion, with sea in background. Section of wall with corner bastion. See 'Journal of the Asiatic Society of Bengal', vol. XXXV, part I, 1866, p. 192. See also part 286 (472). Small, square format print. See also print 1058. Not recorded in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). See also print 65. See Annual Report of the Superintendent, Archaeological Survey, Madras, dated 27 June 1893 (Madras General Proceedings, June 1893): 'During the second portion of the field season excavations were made at the Buddhist site of Arugolu in the Godavari District...The place covers several square miles and markes the site of what has evidently been a large town and important religious centre. The existing remains consist of the ruins of a large vihara with two small stupas near, a large stupa (Chinna Lanja dibba) with a vihara and numbers of small votive stupas around, and a large mound (Pedda Lanja dibba) containing the remains of a rectangular building on which a Local Fund bungalow has recently been built. Surrounding it is a considerable number of small votive stupas...At the former I unearthed some large vases and pots in earthenware, a number of bones of a large ruminant and other articles from the cells and centre of the stupas; at the second, two relic caskets, one of them being a large rough laterite boulder with a conical cavity covered with a round polished slab of gneiss and containing a crystal phial with some bones and ashes. Among other objects excavated around the building were a number of cut stone architectural details including the rail and facing stones of the dome and a sculptured marble slab. Photographs and drawingsof the principal of these objects were taken...' See also following plates. Duplicate at Photo 1008/1 (208). See Annual Report of the Superintendent, Archaeological Survey, Madras, dated 27 June 1893 (Madras General Proceedings, June 1893): 'During the second portion of the field season excavations were made at the Buddhist site of Arugolu in the Godavari District...The place covers several square miles and markes the site of what has evidently been a large town and important religious centre. The existing remains consist of the ruins of a large vihara with two small stupas near, a large stupa (Chinna Lanja dibba) with a vihara and numbers of small votive stupas around, and a large mound (Pedda Lanja dibba) containing the remains of a rectangular building on which a Local Fund bungalow has recently been built. Surrounding it is a considerable number of small votive stupas...At the former I unearthed some large vases and pots in earthenware, a number of bones of a large ruminant and other articles from the cells and centre of the stupas; at the second, two relic caskets, one of them being a large rough laterite boulder with a conical cavity covered with a round polished slab of gneiss and containing a crystal phial with some bones and ashes. Among other objects excavated around the building were a number of cut stone architectural details including the rail and facing stones of the dome and a sculptured marble slab. Photographs and drawingsof the principal of these objects were taken...' See also following plates. Duplicate at Photo 1008/1 (208). See Carr Stephen, The archaeology of the monumental remains of Delhi (Ludhiana and Calcutta, 1876), p. 209: 'This bridge is at a short distance to the south-east of the southern gateway of Humayun's Tomb...It is a massive strucrure of stone and mortar and spans what De La�t calls a branch of the Jumna...The bridge is 361 feet long, 46 feet wide and has a maximum height of 29 feet. The sides of the bridge are protected by heavy masonry walls; the walls over the arches are flanked by minars, about 10 feet high, one on each side of every arch...' See descriptive note at print 1718. See descriptive note at print 1718. See descriptive note at print 2142. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1373). See descriptive note at print 2142. See Dr Vogel, Catalogue of the Delhi Museum of Archaeology, page 2, A18. See E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 39 for a drawing of this piece. See general note at print 2252. Duplicate at Photo 1008/1 (211). See general note at print 2252. Duplicate at Photo 1008/1 (211). See J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p. 172: '...has had a large and very massively built and heavily roofed mahamandapa added on afterwards, the junction being quite distinct...' See also note at Photo 1002/3 (159). See J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p. 193: 'Close to it [a colossal statue], I excavated a mound of ruins; the yield consisted of five Buddhist sculptures of a late age; the most remarkable of these is a male and female figure seated under a tree, which may be meant for a date palm [sculpture on right]; it has been photographed'. See J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), p172: '...a small temple, single cell, faces north; over the entrance Gane�a...The temple, in material and execution, resemble No. 1'. See also note at Photo 1002/3 (159). See J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 190-191: 'Here, under a bar or bat tree, are collected numerous statues, found, it is said, in the jangal when the place was cleared, but chiefly in a spot 100 yards off, which is, and must long have been, a burial place of the Bhumji or aborigines...The sculptures collected under the tree are Jain and Brahmanical..' The sculptures, being in shade, are not very clearly defined in this print, but are listed by Beglar. See M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), pp. 262-269. See No. 2342 for notes on the term chilla. From east. See note at print 10.[Woodburtype, 238x187mm]. See note at print 11. See note at print 1596. See note at print 1596. See note at print 183. See note at print 1912. See note at print 1912. See note at print 2196. See note at print 2252. Duplicate at ASS (205). See note at print 2252. Duplicate at ASS (205). See note at print 2252. Duplicate at Photo 1008/1 (204). See note at print 2252. Duplicate at Photo 1008/1 (204). See note at print 2252.Duplicate at Photo 1008/1 (209). See note at print 2252.Duplicate at Photo 1008/1 (209). See note at print 2252. See note at print 2252. See note at print 2272. See note at print 2333. See note at print 335. See note at print 438. See note at print 438. See note at print 438. See note at print 438. See note at print 494. See note at print at print 2272. See notes at Print 59. See notes at Print 59. See notes at Print 59. See notes at Print 59. See notes with 737. See Photo 1000 (971) for another copy of this print. See Photo 125/4 (4) for duplicate and note. This photograph also appears as plate 20 in F.O. Oertel, Notes of a Tour in Burma in March and April 1892 (Rangoon, 1893). See Photo 998. Second copy negative at B.25611. See Photo 430/41 (10) for duplicate with extended caption notes. The ornate ivory throne, with steps leading up to the seat. See Photo 430/41 (11) for duplicate with extended caption notes. '...Formerly known as the Lower Residency, but is now reserved for the European guests of H.H. the Maharaja'. See Photo 430/41 (18) for duplicate extended caption notes. See Photo 430/41 (20) for duplicate with extended caption notes. See Photo 430/41 (23) for duplicate with extended caption notes. See Photo 430/41 (24) for duplicate with extended caption notes. See Photo 430/41 (27) for duplicate with extended caption notes. Temple car in foreground, gopura beyond. See Photo 430/41 (28) for duplicate with extended caption notes. See Photo 430/41 (29) for duplicate with extended caption notes. See Photo 430/41 (30) for duplicate with extended caption notes. See Photo 430/41 (34) for duplicate with extended caption notes. See Photo 430/41 (36) for duplicate with extended caption notes. See Photo 430/41 (39) for duplicate with extended caption notes. See Photo 430/41 (4) for duplicate with extended caption notes. See Photo 430/41 (40) for duplicate with extended caption notes. See Photo 430/41 (42) for duplicate with extended caption notes. See Photo 430/41 (43) for duplicate with extended caption notes. Colonel William Baillie died in captivity in Seringapatam in 1782, having been captured by Haidar Ali in 1780. See Photo 430/41 (44) for duplicate with extended caption notes. Obelisk erected to the memory of officers killed in the Siege of Seringapatam 1799. See Photo 430/41 (5) for duplicate with extended caption notes. See Photo 430/41 (6) for duplicate with extended caption notes. General view of this turretted and crenellated building in 'Scottish baronial' style, with a large party of Europeans in coaches gathered on the drive in front of the building. See Photo 430/41 (96) for duplicate. See Photo 430/41 (97) for duplicate with extended caption notes. View of entrance, flanked by carved guardian figures. See Photo 430/41 (98) for duplicate. See print 18 for the other view of the palace referred to. Semi-circular window with 'panes' carved with Islamic motifs. Sentries standing outside and on the roof. Seven miscellaneous snapshots of Indian scenes, mainly architecture, including one view at the Taj Mahal.[Gelatin silver prints, 120x93mm]. Seven postcard views. Seven prints, views of the Danish fort at Tranquebar (Tarangambadi): general exterior views, close-ups of walls, interiors. Several votive stones piled against a wall. The picture was evidently used as an illustration in an unidentified work, a note beneath the image referring to 'Chap XI, inset no. 1 - p. 2 of M.S.' Shah Karim Muhammad Qadri's tomb. Sheep crossing river beneath bridge. The same bridge is also seen in print 3.[Gelatin silver print, 82x95mm]. Sheshphani image in a Parasnath temple. Shikara of the small temple in the Pancha Pandava Tuk, behind the main temple. The Pancha Pandava Tuk is situated on the northern ridge, abutting the west end of the Khartaravasi Tuk. Shiva, holding trident, (?) with Parvati. Shiva, holding trident. Shiva (seated in Lalitasana posture) and Parvati (?), with nandi beneath. Shiva and Parvati. Shiva and Parvati (?), with linga beneath. Shiva and Parvati (?), with nandi beneath. Shiva and Parvati playing dice, with nandi beneath. Shiva as Tripurantaka. Shiva as Tripurantaka. Shiva dancing the Lalitam. Shiva emerging from the linga. Shiva impaling Andhaka. Shiva spearing Andhaka. Shiva stepping out of the lotus pond, assisted by Parvati (?) Shop front with verandah in Mukden (modern Shenyang). Showing a heap of finely carved stones. This print is reproduced as a lithograph in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), pl.VIII: 'This tomb has fallen to pieces. The iron clamps that bound the slabs together have rusted, and the roots of trees have undermined the massive stones. This mausoleum formerly consisted of a ponderous stone which occupied the centre, surrounded by pillars about five feet in height. The stones are all beautifully carved, and the corners of the slabs and the arabesque tracery are as perfect as the day they left the workman's hands. The stones are formed of hard, almost black, basalt...This tomb might be easily repaired, and the cost of doing so would be inconsiderable. There is no old building in Eastern Bengal which gives a better idea of Muhammadan taste than this ruined sepulchre; and there is none, when properly repaired, which would so long defy the ravages of time...' Duplicate copy at print 3327. India Museum no. 809. Duplicate of Photo 1000 (2730). Showing a heap of finely carved stones. This print is reproduced as a lithograph in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), pl.VIII: 'This tomb has fallen to pieces. The iron clamps that bound the slabs together have rusted, and the roots of trees have undermined the massive stones. This mausoleum formerly consisted of a ponderous stone which occupied the centre, surrounded by pillars about five feet in height. The stones are all beautifully carved, and the corners of the slabs and the arabesque tracery are as perfect as the day they left the workman's hands. The stones are formed of hard, almost black, basalt...This tomb might be easily repaired, and the cost of doing so would be inconsiderable. There is no old building in Eastern Bengal which gives a better idea of Muhammadan taste than this ruined sepulchre; and there is none, when properly repaired, which would so long defy the ravages of time...' India Museum no. 1570. Duplicate of Photo 1000 (2730) and (3327). Showing a line of type casting machines. Showing angle of wall and ruined bastion. Showing angle of wall with bastion and chhatri, and gateway off to left. Showing an unidentified railway shed, still under construction with roof not yet completed. A locomotive is drawn up beside the water tower at the right of the building Showing a partially excavated mound or wall. Showing a portion of the groin-vaulted interior, with some of the graves. Showing a portion of the ruins of the former palace. Showing arcade of massive columns. Showing arcade of massive columns. Showing arches before restoration. Reproduced in Alexander Cunningham, Mahabodhi or the Great Buddhist Temple under the Bodhi Tree at Buddha-Gaya (London, 1892), pl. xxxi.Duplicate of Photo 1002 (52). Showing archway and steps leading down to tank.[74x100mm]. Showing archway with plaster cut back to expose coupled pillars. Showing area of fa�ade to the left of the entrance. Showing a row of three pointed arches which form one section of the octagonal arcade which runs around the lower storey of the tomb. Showing ascetic seated between two stone elephants.[?Matte collodion printing-out paper, 159x190mm]. Showing a section of the sculptured yali ('tiger') heads which ring the entrance. India Museum no. 592. Duplicate of Photo 1000 (2525). Showing B.C. Lang and T.R.R.P. standing beside the temple tank. Showing banded sculptural work and mouldings. Duplicate (later printing) of Photo 1000 (3112). Another copy at Photo 212/6 (14). Showing base of pagoda. Poor quality photograph. Showing bricked-up archway with carved pillar in foreground. Showing broad flight of steps leading up to roof. Showing carved columns. Showing carved decoration. Showing carved detail around damaged doorway. Showing carved details. Showing carved details of architrave. Showing carved details of architrave. Showing carved guardian figure on one side of the doorway. Showing carved stonework. Showing carving on pillars and around the drum of the dome. An almost identical view to, and taken on the same occasion as Photo 1000 (1903). Showing carving on pillars and around the drum of the dome. An almost identical view to, and taken on the same occasion as Photo 1000 (1903). Showing carvings at base of sanctuary tower of Venkataramana Temple. Duplicate (later printing) of Photo 1000 (3165). Another copy at Photo 212/7 (27). Showing cave entrances. Showing ceiling with rock-cut beams to imitate wooden forms. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2094). Showing collapsing roof. Showing colonnade, with free-standing pillar at extreme right. Showing colonnade with carved square pillars. Showing colonnade with carved square pillars. Showing construction work in progress. Showing construction work in progress on the snow-covered building. Showing decorative window tracery in calligraphic form. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xlvi. Showing decorative window tracery in calligraphic form. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xlvi. Showing detail of ground and first floor. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 72b. Showing detail of moulding and sculpture on fa�ade. Showing details of mouldings. Showing details of mouldings. Showing details of mouldings and sculpture on fa�ade. Showing details of mouldings and sculpture on fa�ade. Showing diggers at work on the site. Showing dining table laid for a formal dinner. Pencilled note on mount in Temple's hand reads: 'Images of nats on brackets...The dinner table is a mistake as it destroys the size of the room: 45ft x 25ft x 17ft high.' Showing doorway, surrounded by bands of delicate sculpture. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxix: 'Though the south doorway is the finer one of the two, the eastern has even more delicate work upon it. In this one some of the bands have been so undercut as to leave ribbons of perforated filigree work the fine tracery of which is accentuated by the black shadows of the innumerable interstices between. How the tool was worked through these small holes to remove the background is marvellous: it must have required the very utmost effort of patience.' Showing doorway, surrounded by bands of delicate sculpture. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxix: 'Though the south doorway is the finer one of the two, the eastern has even more delicate work upon it. In this one some of the bands have been so undercut as to leave ribbons of perforated filigree work the fine tracery of which is accentuated by the black shadows of the innumerable interstices between. How the tool was worked through these small holes to remove the background is marvellous: it must have required the very utmost effort of patience.' Showing doorway and surrounding carved plasterwork. Showing doorway and surrounding carved work. Showing doorway and surrounding carving and moulding detail. Duplicate (later printing) of Photo 1000 (3114). Another copy at Photo 212/6 (16). Showing doorway and surrounding screen of perforated windows. Showing doorway and surrounding screen of perforated windows. Showing doorway at bottom left, fa�ade and part of dome. Bengal list pp. 450-453; see also, Alexander Cunningham, 'Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882) pp. 88-90. Showing doorway with ornately carved architraves. Showing doorway with ornately carved architraves. Showing elaborate carving along the side of the terrace of a monastery. Showing elaborate inlay and mosaic work. (?)Possibly in the Sheesh Mahal. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Showing elaborate inlay and mosaic work. Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. Showing elaborate inlay and mosaic work. Poor quality photograph. The attribution to Beglar in Bloch's list is probably incorrect. Showing elaborate inlay and mosaic work. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Showing elaborate inlay and mosaic work. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Showing elaborate inlay and mosaic work. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Showing elaborate inlay and mosaic work. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Showing elaborately carved architraves and lintel. Showing elaborately carved architraves and lintel. Showing elaborate stone carving on windows and balconies. Showing elaborate wood-carving over entrance. Showing embroidered rug, cushion and arm-rests laid out on floor. Showing entrance, flanked by two female sculpture and with a band of sculpture along the lintel. The site is described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 201-203. Bloch's list seems to assume that this is the temple described on pp. 201-202, the Lakhneswar Temple. However, it appears more probably to be one of the smaller temples descrined on p. 203, 'adorned with sculpture collected from all sides; in this temple are numerous pillars and pilasters with sculptured females similar to the sculptures at Sirpur...' Showing entrance arch to the Taj Bauri, flanked by domed towers, with the tank beyond. Print 16 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860). Showing entrance to mandapa. Showing entrance to resting place for pilgrims to the right of the porch. Showing excavated area, with stupa mound beyond. Showing excavated base of walls. Showing excavated brick plinth of stupa, with the main stupa (the so-called Stupa of the Dying Buddha) in the background. Showing excavated foundations. Showing excavation work in progress. Showing excavation work in progress at the corner of the main stupa. Showing excavation work in progress on a group of small stupas. Showing fa�ade and part of roof. Showing fa�ade with pierced stone windows. Showing female figure being led away by an attendant, with the head of a bull (body out of picture) at the left. India Museum no. 596. Duplicate of Photo 1000 (2539). Showing foliate decoration on the architraves. Described in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pp. 47-48, where the cave is named the 'Bina' of 'Vina' Cave and given the number 3. George Michell (The Penguin guide to the monuments of India, vol. I, London, 1989, p. 192), whose numbering is followed here, gives location as Cave 4. Showing foundations of excavated site. Showing friezes of carved plaster work, and angle pilasters. Large areas of the plaster have broken off to reveal the brickwork beneath. Showing furniture and decorations.[Gelatin silver print, 155x108mm]. Showing gateway under repair. Showing inlaid mirror-work. Showing intricate floral design carved on face of wall. Showing left half of fa�ade and side porch. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2059). Showing left half of fa�ade and side porch. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2097). Showing left hand side of garden and part of main Taj building. Showing main doorway and surrounding timber framing of room. Showing massive doorway and surrounding sculpture. Showing moulding and sculptural details. Negative degenerated overall, with a fine web of lines showing over most of print surface. Showing moulding and sculptural details. Negative degenerated overall, with a fine web of lines showing over most of print surface. Showing moulding and sculptural details. Showing moulding and sculptural details. Showing moulding and sculpture at the base of the sanctuary tower. Showing moulding and sculpture details. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1292). Showing moulding and sculpture details. Showing mouldings and sculpture panels. Showing mouldings and sculpture panels. Showing new wing under construction. Showing niche with pointed arch and carved pillars. Showing northern portion. Showing officials lined up in front of the entrance to the Treasury, with a senior figure posed in the act of opening the door.[Albumen print, 255x199mm]. Showing one of the side towers of the palace, with stairway to entrance to the Zenana Porch covered by a chhatra in the foreground. Showing one wing of the single storey building, probably the ticket office, with railway trucks visible in the background. Showing ornate relief carving on walls of the fa�ade. Reproduced in collotype in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), pl.7. This print is marked 'Autotype' in pencil on the reverse, indicating the original from which the collotype reproduction was made (while not in fact an actual autotype (a form of carbon print) the term was loosely applied to collotypes made by the Autotype Company). Another copy of this print at Photo 1000/6 (710). Showing partially overgrown ruins of the fort, with the sea beyond. Showing part of colonnade of outer courtyard. Showing part of Residency ruins, Lawrence Memorial Cross and, on the left, an undentified bungalow.[Gelatin silver print, 286x237mm]. Showing part of the richly-carved fa�ade of the temple. Showing pier foundations loaded with test weights to a pressure of 3 tons per square foot.[Gelatin silver print, 200x149mm]. Showing pietra dura decoration in the Mussaman Burj. Showing pillar framed by doorway.[Albumen print]. Showing pillars with relief sculpture of the Sapta Matrika on wall behind. Another copy at print 157. Photo 1000/8 (900) is a platinum print from the same negative. Showing pillars with relief sculpture of the Sapta Matrika on wall behind. Duplicate of print 74. Photo 1000/8 (900) is a platinum print from the same negative. Showing pillars with relief sculpture of the Sapta Matrika on wall behind. Showing portion of ceiling. Showing portion of east fa�ade of Kalika Mata Temple, with top of Hira Gate visible in background. Similar view at Photo 1000 (2036). Showing portion of the enclosure wall, with chhatri. Showing pyramidal base of Firoz Shah's Lat. Showing railing and inscription. Showing relief sculpture (mainly Buddha images) on the fa�ade next to the entrance: corresponding view to print 2089. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2091). Showing relief sculpture (mainly Buddha images) on the fa�ade next to the entrance. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2089). Showing relief sculpture (mainly Buddha images) on the fa�ade next to the entrance. Stereoscopic view. Duplicate of Photo 1000 (2089a). Showing remains of wall. Showing repairs to damaged floor. Showing rich carved work at base of minaret, with balcony window on south elevation of the mosque in the background. Duplicate (later printing) of Photo 1000 (3211). Showing rich carving on architraves and lintel of the entrance, with the linga visible beyond. Another copy of this print at Photo 1002 (2605). Showing rich carving on architraves and lintel of the entrance, with the linga visible beyond. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (2605). Showing richly-carved architraves. See note at print 1253. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1399). Showing richly-carved architraves round the doorway of an unnamed temple. Showing richly-carved architraves round the doorway of an unnamed temple. Showing richly-carved pillars inside the Sasbahu temple. Showing richly-carved walls of the interior of Iltutmish's Tomb. Showing rifle racks inside the depot.[Albumen print, 374x305mm]. Showing right half of fa�ade and side porch. Similar to print 2057. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2060). Showing right-hand pillars of central hall and cell off to the right. Showing roadway between the two sections of the gopura. Showing roadway between the two sections of the gopura. Showing scaffolding erected at entrance to temple, and with work in progress. Burgess and Cousens, Revised lists of antiquarian remains in the Bombay Presidency (Bombay, 1897) states that the temple was set up seven years ago (i.e. 1890) and, assuming that prints 2038-2102 were taken in the course of the same visit, this gives an approximate date for the whole series of Satrunjaya photographs by Cousens. Showing screen of three cusped arches. Showing sculptural detail. Showing sculptural detail. Showing sculptural detail of fa�ade. Showing sculptural detail of fa�ade. Showing sculptural detail of fa�ade next to the entrance. Showing sculptural detail of the fa�ade of the mandapa. Showing sculptural detail on architrave and column in foreground. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1315). Showing sculptural detail on architrave and column in foreground. Showing sculptural detail on the column. Showing sculptural detail on the fa�ade. Showing sculptural detail on walls. Showing sculptural details. Printed from a broken glass plate. Showing sculptural details. Printed from a poor quality negative. Showing sculptural details. Showing sculptural details. Showing sculptural details around architraves. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1371). Showing sculptural details around architraves. Showing sculptural details of the domed roof. Showing sculptural details of the domed roof. Showing sculptural panels. Showing sculptural panels. Showing sculptured columns, with Nandi in foreground. The roof is open to the sky. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1293). Showing sculptured elephants supporting releif carving of multi-storied buildings with horseshoe shaped entrances (similar to the chaitya hall itself). India Museum no. 534(b). Duplicate of Photo 1000 (2459). Showing sculpture details of ceiling. Signed in the negative O.S. Baudesson 1882. Showing sculpture details of ceiling. Signed in the negative O.S. Baudesson 1882. Showing sculptured fa�ades on south and west sides. Showing sculptured panel between two pilasters, designed to hold statues. Showing sculptured parapet with niches (empty). Showing sculpture fragments, at find-spot. See also print 551. Showing sculpture in niches. Showing sculpture on exterior wall beside entrance. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. Showing sculpture on exterior wall beside entrance. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. Showing sculpture on fa�ade. Showing sculpture on fa�ade. Showing sculpture on the fa�ade. Showing sculpture on the fa�ade . Showing sculptures arranged in the garden of the museum. See note at print 199, also Frederick M. Asher, 'The Former Broadley Collection, Bihar Sharif' ('Artibus Asiae', vol. 32, 1970, pp. 105-124), where this photograph is reproduced as plate 6, with Broadley's original notes: 'South side of the quadrangle. Buddhistic figures, as follows, (numbering from right to left), 1, 2, 6 and 7 from the ruins of the Titrawan Monastery, 3 from Hargaon, 4 from Biswak, 5 from Rohoi; the three Hindu figures are from Bargaon.'Credited to 'Dr Simpson', but possibly taken by Beglar. Showing section of colonnade, in ruins. Showing section of wall under repair. Showing secure area of shed. Showing southern portion. Showing standing pillars of the mandapa. Showing steps leading down to subterranean chamber beneath the tomb. Showing steps leading up into the Dance Pavilion. Showing subsidiary steps exposed during excavation. Showing temple fa�ade, with two whitewashed shikaras rising in the background. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1378). Showing temple fa�ade, with two whitewashed shikaras rising in the background. Showing temple ruins, the shikara now collapsed. Described in Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 62-63. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1290). Showing temple ruins, the shikara now collapsed. Described in Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 62-63. Showing temple sculpture on the pillars inside a mundapa in the temple. Showing the arched entrance to the tomb. Showing the bombed shell of The Ring, formerly the Surrey Chapel, on the present site of Orbit House, 197 Blackfriars Road. Showing the building before the earthquake. Showing the characteristic hipped, stone-slab roof and railed screen wall. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliii (b); the temples at Bhatkal are described pp. 134-137. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1341). Showing the characteristic hipped, stone-slab roof and railed screen wall. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliii (b); the temples at Bhatkal are described pp. 134-137. Showing the cleft between the two massive boulders on which the relief is carved, with part of the right-hand section. The base of the rock has been cleared to reveal the feet of the elephant, the cleft has been cleared of vegetation and the Nagaraja sculpture (previously in front of the elephant) has been removed. Compare print 195. India Museum no. 584. Duplicate of Photo 1000 (2527). Showing the court before restoration (compare with print 1438). Vignetting at corners of image. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. Showing the cross at the entrance to the church, with the building itself in the background, largely obscured by trees. Showing the domed roof of the Kaiser Pasand. Duplicate of Photo 32 (10) (qv). This print has a small portion missing at bottom left-hand corner.Size: 480 (w) x 365 (h) mm. Showing the doorway, with sculpture panels of deities on either side. Reproduced as a lithograph in A. Cunningham, Report of tours in Bundelkhand and Malwa in 1874-75 and 1876-77 (A.S.I. vol. X, Calcutta, 1880), pl. xvii and described pp. 49-50. Showing the doorway, with the intricately carved balcony window above. Showing the doorway, with the intricately carved balcony window above. Showing the doorway with sculptured architraves. Showing the entrance to the three shrines, which are flanked by guardian figures between pilasters. India Museum no. 562. Duplicate of Photo 1000 (2505). Showing the extensive three-storeyed fa�ade, from the left. Photo 1000/8 (868) is a platinum print from the same negative. Showing the kirttimukha or carved lion mask, above the arched front of the tower and in front of the sculpture seen in print 2599. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl.cxiii, described p. 106: 'Upon the great arched frontispiece of the main tower, beneath the Hoysala group, is some superb arabesque carving in very bold relief...The work around the arch, and especially the beautiful pendant falling from the mouth of the kirtimukha mask are splendid specimens of the sculptor's art...There is no weakness about this magnificently-cut kirtimukha mask; on the contrary, it is remarkably strong - strong in its broad treatment, strong in its splendid outline, and strong in its vigorous lights and shadows...' Showing the kirttimukha or carved lion mask, above the arched front of the tower and in front of the sculpture seen in print 2599. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese Districts (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl.cxiii, described p. 106: 'Upon the great arched frontispiece of the main tower, beneath the Hoysala group, is some superb arabesque carving in very bold relief...The work around the arch, and especially the beautiful pendant falling from the mouth of the kirtimukha mask are splendid specimens of the sculptor's art...There is no weakness about this magnificently-cut kirtimukha mask; on the contrary, it is remarkably strong - strong in its broad treatment, strong in its splendid outline, and strong in its vigorous lights and shadows...' Showing the main entrance doorway. Showing the massive fortified walls and corner bastion surrounding the temple: 'This fortified temple stands in an open plain about eight miles east of Madura; N. of the Vaigai River. Orme calls it Kovilgudi; and mentions a town which surrounded it, called Tirambur; this town has now almost disappeared; and the building represented is called the Tirambur Pagoda...' Showing the mihrab (prayer niche) and minbar (pulpit) in the qibla wall in the Adina Mosque. Showing the moat and one of the massive corner bastions of the fort. Showing the most damaged face of the stupa. Innermost Asia, vol. 2, fig. 317: 'Ruined shrine, Sirkip, seen from north-west.' (I.A. Map 28, D3). Showing the north angle of the hall, with the wall of inlaid mirror-work visible in the interior. Bloch lists this view as 'colonnades round courtyard', implying incorrectly that it is the courtyard in front of the Ganesh Pol. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Showing the obelisk erected by Lord Curzon at the northern end of Dalhousie Square, with the Writer's Buildings (Bengal Secretariat) in the background. The monument has now been removed to a corner of the grounds of St John's Church. Showing the open-sided mandapa at the right. Printed from a brokewn glass plate. Signed in the negative O.S. Baudesson 1882. Showing the open-sided mandapa at the right. Printed from a brokewn glass plate. Signed in the negative O.S. Baudesson 1882. Showing the perforated stone screens at the back of the sluice for preventing debris from entering the tank. Here seen in a much overgrown and dilapidated condition. Showing the pieces seen in print 1016, with some additional fragments. The central portion of this photograph, appears to have been the source of pl. xlviii of A. Cunningham, Report for the year 1872-73 (A.S.I. vol. V, Calcutta, 1882). Showing the pillars taken from older Hindu and Jain temples. Each column is made from three separate pillars placed one on top of the other to gain extra height. Printed from a broken glass plate. Showing the pillars taken from older Hindu and Jain temples. Each column is made from three separate pillars placed one on top of the other to gain extra height. Printed from a broken glass plate. Showing the platform and the collapsed, half-buried tower. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1306). Showing the platform and the collapsed, half-buried tower. Showing the remains of the octagonal tower built to commemorate the visit of the emperor Humayun to Sarnath, standing on the remains of an earlier Buddhist stupa. Showing the remains of the pavilion known as the Pani Mahal, in front of the Arsh Mahal. This view is reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ci (a), and described pp. 109-110: 'But, out in front of it, upon one of the bastions of the old citadel wall, are the ruined walls of an little pavilion known as the Pani Mahal. This was, no doubt, originally, a little garden house or pleasure resort, occupying an elevated position overlooking the moat and plain beyond it...' Showing the remains of the pavilion known as the Pani Mahal, in front of the Arsh Mahal. This view is reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ci (a), and described pp. 109-110: 'But, out in front of it, upon one of the bastions of the old citadel wall, are the ruined walls of an little pavilion known as the Pani Mahal. This was, no doubt, originally, a little garden house or pleasure resort, occupying an elevated position overlooking the moat and plain beyond it...' Showing the richly-carved capital. Another copy at print 73. Photo 1000/8 (904) is a platinum print from the same negative Showing the richly-carved face of two massive boulders Showing the richly-carved face of two massive boulders Showing the richly-carved interior of the Adinatha Temple. Showing the richly-carved sanctum tower, with the mahamandapa at the right.Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 217-218. Showing the richly-detailed marbled relief and pietra dura work of the chamber, with the pool in the foreground. Incorrectly captioned 'Delhi Fort' on the back of the print. Showing the roughly-hewn entrance to the vihara cave, with an Indian group posed in the foreground: 'It is now used as a residence, if not by Major Gill himself, at least by his followers, whose portraits are seen in the photograph. Their various ranks and stations will be easily recognised by any one familiar with an Indian household, from the fierce jemadar, who is attitudinizing on the right, to the mehtur boy, who is sitting with his back against the door-jamb on the left.' Showing the ruins of the mosque with part of the tomb at the right. All that remains of the mosque are the minarets and the central archway and the tomb (what can be seen of it) is also in dilapidated condition. Showing the same temple seen in print 1272. Reproduced as a lithograph in J.D. Beglar, 'Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76' (A.S.I. vol. XIII, Calcutta, 1882), pl. xv. Showing the site of Beglar's excavations of 1878-79. Showing the six columns with lion bases of the uncompleted temple. Showing the six columns with lion bases of the uncompleted temple. Showing the small shrine in the centre of the tank. Showing the southern section of the screen of arches in front of the Jai Mandir, also seen in print 1576. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. Showing the steel moulds being filled with concrete: 'Work commenced 20th February 1915. Number of piles cast up to 21st March 1915, 77.'[Gelatin silver print, 202x149mm]. Showing the top of the column in the centre of the building, with the walkways leading to it from the four corners. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 78. Showing the tops of two partly buried structures. Showing the triple-arched entrance, with surrounding painted sculptural detail. India Museum no. 827. Duplicate of Photo 1000 (3334). Showing the two tall minarets, all that remain of the unidentified mosque, standing on one of the platforms of the railway station. In the background can be seen the Mosque and Tomb of Sidi Bashir (left) and the Mosque of Muhammad Ghaus Gwaliari and the city walls (right). Showing the two women seen in prints 105 and 107 standing in the gateway. Showing the upper half of four columns; the capitals comprise a fluted cushion above which are sculptured figures of couples riding on elephants. Showing three figures posed on hillock. Showing tilework decoration of walls. Print in poorish condition, with overall spotting.[Albumen print, 375x309mm]. Showing tilework decoration on walls of the vestibule to the main entry to the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 202x256mm]. Showing tower and open-sided mandapa. Portion of negative at bottom right-hand corner broken off. 'Of an old ruined temple at Bamora, one of the stations on the Indian Midland Line, and about twelve miles from Pathari, I got two photographic negatives and then took rail for Hoshangabad and Poona' (Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', p. 9). Another copy of this print at Photo 1002 (2604). Showing tower and open-sided mandapa. Portion of negative at bottom right-hand corner broken off. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1441). Showing triple-arched entrance and elaborate surrounding painted sculptural detail. The upper stories and towers are out of the print. India Museum no. 824. Duplicate of Photo 1000 (3331). Showing turbines. Showing two faces of the miniature chaitya hall seen in print 55. Showing two of the three shrines of the temple, with sculpture of Hoysala king and lion on left-hand tower. India Museum no. 625. Duplicate of Photo 1000 (2257a) and (2568). Showing unfinished and ruined gopura in foreground, with fort wall beyond. Showing upper half of arched doorway with frieze above. Showing upper portion of the brick tower. Showing verandahed entrance to tomb. Showing very intricate and detailed carved work. Showing wall, entrance gateway and mosque beyond. Showing wall painted with naif hunting scenes. Showing wall sculpture. Small format print, amateur quality. Showing wall sculpture. Small format print, amateur quality. Showing weaponry of the Ottoman Empire.[Albumen print, 378x301mm]. Showing where lower portion of fresco has been removed (I.A. Map 38, B4). Showing window and ornate sculptural details on fa�ade. Showing window and sculptural details. Showing window and sculptural details. Showing window and sculptured plasterwork surrounds. Showing window and surrounding sculptural detail. Showing window and surrounding sculptural detail. Show inscription plaques set into the brickwork screen. Shows the east front and gallery of the Dasara Hall of the old palace, burned down in 1897. Shows the Khandagiri and Tentuli Caves: compare illustration in M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), p. 277. Shrine in the Padmanabha Temple. Shrine on the Narbada at Maheshwar. Shrine on the platform of the Shwe Dagon Pagoda. Another copy at Mss Eur E290/103 (16). Shrines in the form of chortens on the roof of the monastery. 'The roofs of these monasteries are the most beautiful parts. The top few feet of the walls are formed of innumerable willow twigs laid horizontally and cut straight like a half used haystack. This matt surface is ornamented with gold signs and stained a deep, rich maroon forming a most attractive contrast with the gilt ornaments on the roofs, some of which are of great size...' (Lhasa Mission Diary, 18 October 1936).[Gelatin silver print, 151x104mm]. Shrines in the Lakshmi Narayana Temple complex. Shrine with figures of the Buddha receving homage from a white elephant and a nat. Letterpress continues: 'This is at the Sontoung-pyee-tiyne Pagoda. The white elephant and a Nat are making offerings to Gautama. The Nats, in Burman belief, are an order of being superior to man, some being beneficent, others mischievous'. Side view, looking towards flight of stone steps and gateway. Compare with Photo 3/2(90), where later restoration has removed the central structure above the gateway. Side view, showing massive masonry blocks used in construction: 'Beside it [the Naganatha] is a little shrine of Ganapati which, having the outer casing of its walls gone, shews the manner of building and the rough backs of the blocks forming the inner shell...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 2).[Printing-out paper, 242x185mm]. Side view, slightly more distant, of building seen in print 5. Side view, with the temple shikara at the left, with mandapa and south entrance porch at right. Side view, with the temple shikara at the left, with mandapa and south entrance porch at right. Side view. Side view from the gardens. Side view from the gardens. Side view from the grounds. Side view from the moat. Side view from west of Bhima Ratha. Side view of a monolithic Gommateshvara image. Side view of aqueduct. Side view of base of dome, largely overgrown with vegetation. Duplicate of Photo 1008/9 (2625).[203x153mm]. Side view of building, slightly distant. Side view of bull in nandi pavilion. Side view of bull in the Nandi Pavilion in the Brihadeshvara Temple. Side view of bungalow.[Gelatin silver print, 139x80mm]. Side view of entrance, partially obscured by trees. Side view of figure also seen in print 30. Side view of gateway, partially covered in scaffolding. Side view of gateway. Side view of gopura, looking along street towards the structure. Side view of massive sculpture of Varaha image of Vishnu, covered with rows of small figures carved in relief. Side view of minbar (pulpit). Print in poor condition, with overall spotting.[Albumen print, 306x373mm]. Side view of minbar (pulpit) in the Mosque. Print in poor condition, with overall spotting.[Albumen print, 310x370mm]. Side view of mosque. From north-east. Side view of mosque. From south. Side view of nandi. Side view of one of the palaces in the park.[Gelatin silver print, 141x92mm]. Side view of one of the temple gopuras.[?Matte collodion printing-out paper, 274x209mm]. Side view of oriel window, looking along wall. Side view of pavilion. Side view of pavilion seen in print 945. Side view of plain brass cannon, with two mortars in front. Inscribed 'Mookdee Dec 18th 1845, Subraon Feb 10th 1846, Ferozeshur Dec 21st and 22nd 1845'. The view looks westwards along the south front, with the roof of the High Court visible on the skyline. Photograph uncredited, but probably by Johnston & Hoffmann.[Silver printing-out paper, 292x208mm]. Side view of R.F. Chisholm's Napier Museum, showing use of polychrome brick, with pitched roof and dormers in local style. This is an adaptation of Chisholm's original design of 1872, which includes tall twin towers not seen here (see drawing in RIBA collection, reproduced in Thomas R. Metcalf, An Imperial Vision, London, 1989). For a better view of the building, see Photo 792 (2821). Side view of sculptured pillar, with background blocked out in negative. The column is carved in the form of a rearing yali or lion-like beast with rider. Side view of seated Buddha image, also seen in print 23.[Gelatin silver print, 55x85mm]. Side view of shrine, showing carved detail and mouldings. Side view of stone elephant, with a youth seated on its back.[Albumen print, 225x160mm]. Side view of stone elephant. Side view of stupa, showing how over half of the structure has collapsed. Side view of substantial two storey stone built house, with group of domestic servants posed in front. The group gives a good indication of the domestic requirements of a European household in India. John William Younghusband (1823-1907) stands on the verandah with Colonel Miller (probably Major-General Henry Miller (1826-1887), Punjab Police), while Clara Younghusband is seated in the foreground in a jampan carried by four bearers. The Indian figures are identified as a tailor, an orderly, a cow man, a policeman, a dhobi (washerman), a bhisti (water carrier), four general servants, bearer, cook, ayah, jemadar, dhobi girl, syce. Another copy, in brighter condition, at Mss Eur F197/37 (53).[Albumen print, 221x286mm]. Side view of the 12th-century Lanka Tilaka.[Albumen print, signed 'Lawton' in the negative, 285x218mm]. Side view of the building also seen in print 1.[Printing-out paper, 320x260mm]. Side view of the building with mobile artillery, students and instructors in the foreground. All in military uniforms.Albumen print, 305x377mm]. Side view of the Chandra Mahal. Side view of the entrance of the Imperial School of Political Science.[Albumen print, 378x309mm]. Side view of the exterior of the school, from the street (Divanyolu). Towards the left of the school the historic Cemberlitas and partial view of the Atik Ali Pasha Mosque.[Albumen print, 305x384mm]. Side view of the gateway showing tile work decoration. Situated on the west of the Multan road, the building known as the Chauburji is the gateway to Zebunnisa's Garden. Side view of the Khas Mahal. Small faded print. Side view of the masonry bridge, also seen in print 2, with a European figure and Indian staff posed in the left foreground.[Albumen print, 296x215mm]. Side view of the minbar (pulpit), with the mihrab (prayer niche) in the left foreground. Print in poorish condition, with overall spotting and some fading.[Albumen print, 305x373mm]. Side view of the minbar and adjoining wall, showing rich tilework decoration. Print in poorish condition, with overall spotting.[Albumen print, 309x371mm]. Side view of the palace. Duplicate at Photo 37 (32). Side view of the school, from the street. Over the entrance gate there are inscription panels in Ottoman, the one below gives the name of the school.[Albumen print, 373x304mm]. Side view of the School building, from a shore near by. Seaward fa�ade of the middle school. [Albumen print, 298x374mm]. Side view of the school looking across a park.[Albumen print, 308x374mm]. Side view of this classical building showing the loggia on the upper floor overlooking the garden. Duplicate at Photo 10/6 (33). Side view of this classical building showing the loggia on the upper floor overlooking the garden. Duplicate at Photo 17/3 (28). Side view of unfinished gopura. Sign above gate reads: 'Police Lines, Mymensingh'. Signed 'J.J.' in the negative. Another copy at Photo 1000/6 (705). Signed in the negative O.S. Baudesson 1882. Printed from a cracked glass plate. Signed in the negative O.S. Baudesson 1882. Printed from a cracked glass plate. Signed J.J. in the negative. Another copy (faded) at Photo 1000/6 (706). Signed J.J. in the negative. Another copy at Photo 1000/6 (709). Signed J.J. in the negative. Other copies at print 98 and Photo 1000/6 (704). Silver chair, with backrest surmounted by Prince of Wales' feathers.[Silver printing-out paper, mounted on thick card stamped in gilt 'Bourne & Shepherd By appointment to H.E. the Viceroy Simla, Calcutta & Bombay', 228x170mm]. Silver chair with arms in the form of lions, backrest with crown finial.[Silver printing-out paper, mounted on thick card stamped in gilt 'Bourne & Shepherd By appointment to H.E. the Viceroy Simla, Calcutta & Bombay', 229x168mm]. Silver printing-out paper, 213x152mm]. Similar close view of decorated arches to print 275. Similar composition to print 1419, but in a larger format. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Similare to print 195a, but taken from a more oblique angle. Similar orientation to print 2255, but a more distant view of the tomb complex, with people washing clothes and drawing water from the steam in the foreground. The mosque is to the left of the tombs. Similar structure to that seen in print 1506. Duplicate at Photo 3/2 (71). Similar to, and probably taken on the same occasion as Photo 1000 (1778). Similar to, and probably taken on the same occasion as Photo 1000 (1778). Similar to 41. Original and duplicate negatives only, no print. Similar to 9. Original and duplicate negatives only, no print. Similar to E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 87, where all surrounding buildings are identified. Similar to E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 2, pl. 1a. Similar to India Office Series, Photo 1000/28(2797). This is 'No 57' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Similar to Photo 10/18 (42). Similar to Photo 10/18 (45). Similar to Photo 10/18 (63). Second copy neg at B.7899. Similar to Photo 1000 (1745). See Archaeological Survey of Western India, VII, pp. 71-4 for description. Similar to Photo 1000 (1745). See Archaeological Survey of Western India, VII, pp. 71-4 for description. Similar to Photo 430/18 (39). Similar to Photo 430/38 (26). Similar to preceding, from a different angle. Similar to preceding, showing the colonnaded verandah running along one of the upper floors. Albumen print, 384 x 266 mm. Similar to preceding print, but with heavy curtains over doorways. Photograph probably by Bourne & Shepherd. Second copy neg at B.22486 Similar to preceding prints, but from a more south-easterly viewpoint, the temples partly obscured by foreground vegetation.[Gelatin silver print, 304x245mm]. Similar to print, 2505, but from a different angle. Similar to print 1, but a more distant view. Similar to print 1, looking towards Stupa 1, with Temple 18 to the left. Continued to right in print 4.[Gelatin silver print, 202x151mm]. Similar to print 10, but a smaller print. Probably by Mackay. Similar to print 10. Similar to print 1004. Similar to print 104, but from a different angle. Duplicate at Photo 1008/9 (2338).[203x153mm]. Similar to print 109, but without car. Similar to print 109.[Gelatin silver print, 84x141mm]. Similar to print 11. Similar to print 11. Similar to print 111.[Platinum print, 77x101mm]. Similar to print 1121, but a closer view. Similar to print 1162, but a smaller photograph. Similar to print 119, but faded. Similar to print 12, but a slightly closer view. Similar to print 12, taken from the other end of the room. To the left is the door leading off to the hall, to the right carved screens opening into the library. Similar to print 12. Duplicate at volume 7, no. 824, of Archaeological Remains series. Similar to print 1230. Similar to print 125. Similar to print 129. Similar to print 1290. Similar to print 13.[Albumen print, 324x261mm]. Similar to print 130. Similar to print 131. Similar to print 1319, but a closer view of the doorway. Similar to print 132. Similar to print 1331, but this print is somewhat faded. Similar to print 1333. Similar to print 1336. Similar to print 137. Similar to print 1413. Similar to print 1421. Similar to print 147b, showing a different section of the fa�ade overlooking the courtyard, with two telegraph sergeants on the upper balcony. Similar to print 149. Similar to print 15, but taken from the other end of the ballroom. Similar to print 15.[Gelatin silver print, 80x131mm]. Similar to print 1589. Similar to print 159, but somewhat darker. Similar to print 161. Similar to print 169. Similar to print 17, but taken from the other end of the hall. A note beneath the print indicates the 'Back of Paul Kruger's state chair'. This is the oak-carved panel hanging near the bottom of the stairs, which originally formed the back of the canopy of Kruger's seat in the Raad Saal at Pretoria and was appropriated by Kitchener at the end of the Second Boer War. Similar to print 17.[Gelatin silver print, 88x132mm]. Similar to print 17. Similar to print 170. (Ancient Persis Map B2). Similar to print 171. Similar to print 172, but slightly more distant. Similar to print 1725, but slightly more distant. Similar to print 177, but a more distant view. Similar to print 1786. Similar to print 1794. Similar to print 18, but taken from a lower floor. Similar to print 18, showing another section of the frescoes in the hall.[Platinum print.] Similar to print 181.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 292x211mm]. Similar to print 181. Similar to print 182. Similar to print 1883, but viewed from one side. Similar to print 191. Similar to print 193. Similar to print 194, but a slightly closer and more head-on view of main fa�ade.[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 293x173mm]. Similar to print 1944, but a closer view of two figures. Similar to print 197, but a poorer quality image. (I.A. Map 28, C3). Similar to print 1970, but taken on a smaller format negative. Similar to print 1970, but taken on a smaller format negative. Similar to print 1981, but a smaller image. Similar to print 1983, but a smaller image. Similar to print 1985, but a smaller image. Similar to print 1987. Similar to print 1987. Similar to print 199. Similar to print 2, but a closer view of the structure under repair. Similar to print 20, but without figure in foreground. Similar to print 20. Similar to print 2018, but taken from the side. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlvi (b). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1346). Similar to print 2018, but taken from the side. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxlvi (b). Similar to print 2041, but a smaller image. Similar to print 2045, but composed in vertical format. Similar to print 2045, but in portrait format. Similar to print 2056. Similar to print 2077, but presenting a more domestic scene, with tables, chairs, bottles and teacups arranged in the foreground. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2078).Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Similar to print 208, but a somewhat closer view. Similar to print 2093, but seen from the other direction. Similar to print 2095. Similar to print 20 Similar to print 214a. Similar to print 2175, but a slightly closer view. Similar to print 219, but a more distant view. Similar to print 232. (Ancient Persis Map C3). Similar to print 2330, but in a larger format. Photograph attributed to Cole in Bloch's list, but probably part of the series taken by Nicholas & Co. for Cole. Similar to print 2330, but in a larger format. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but probably part of the series taken for Cole by Nicholas and Co. Similar to print 2335, but a larger format photograph. Photograph attributed to Cole in Bloch's list, but probably part of the series taken by Nicholas & Co. for Cole. Similar to print 2335, but a larger format photograph. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but probably part of the series taken for Cole by Nicholas & Co. of Madras. Similar to print 2337, but a larger format photograph. Photograph attributed to Cole in Bloch's list, but probably part of the series taken by Nicholas & Co. for Cole. Similar to print 2337, but a larger format photograph. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but probably part of the series taken for Cole by Nicholas and Co. of Madras. Similar to print 2339. Duplicate at Photo 3/2 (104). Similar to print 234, but taken from another angle. Similar to print 24, but a slightly more distant view of Leander's Tower.[Albumen print, 323x260mm]. Similar to print 24.[Albumen print, 322x261mm]. Similar to print 244. Similar to print 2443, but a closer and more oblique view. Similar to print 2443, but a closer and more oblique view. Similar to print 25. Similar to print 2519, but from a different angle. Similar to print 2575, but slightly more distant. Similar to print 2575, but slightly more distant. Similar to print 26. Similar to print 265. Similar to print 27, but taken from a slightly different angle. Print in poorish condition, with overall spotting.[Albumen print, 308x372mm]. Similar to print 275, but a closer view. Similar to print 276.[Gelatin silver print, 204x143mm]. Similar to print 28, but slightly more distant. Photograph taken during the abortive 1903 mission. Duplicate at Photo 430/53 (4). Similar to print 28.[Albumen print, signed 'Townshend Phot.' in the negative, 214x276mm]. Similar to print 28. Similar to print 285, but a more distant view. St Paul's Cathedral can be seen in the distance on the extreme left.[Gelatin silver print, 199s127mm]. Similar to print 297, but a closer view in larger format and showing better sculptural detail. This view shows the central and right portion of the fa�ade. Similar to print 30. Similar to print 3047, but a closer view from from ground level. Similar to print 31, but from a higher viewpoint. Similar to print 327. Similar to print 328. Similar to print 329, but a slightly more distant view. Similar to print 330, but from a different angle. Similar to print 3391 Similar to print 345, but showing more of the roof of the temple. Similar to print 347, but showing more of the fa�ade of the building, with various pieces of sculptures standing in front of the building. Similar to print 348. Similar to print 3494. Similar to print 3504. Similar to print 352, but showing a little more of the tank Similar to print 3544, from a different angle. Similar to print 3552, but taken from the other side of the tank. Similar to print 3556. Similar to print 3571 Similar to print 35 Similar to print 36, but taken from one side and showing bracket details of verandah cornices to the right of the gateway. Similar to print 3666, from a different angle. Similar to print 378. Similar to print 3862, but looking in a more easterly direction, with part of the Khwabgah (sleeping palace) visible at the right. Similar to print 3862. Similar to print 3894. Similar to print 39, but showing somewhat less of the barrack buildings and more of the sea beyond. Carbon print. Photograph probably by W.W. Hooper. Similar to print 39a. Similar to print 4, but with a figure in a sarong (Hinchcliffe?) examining the books in the bookshelf.[102x73mm]. Similar to print 400, but a closer view still of the inscription. Similar to print 41, but showing eastern colonnade. Similar to print 43, but a clearer view. Similar to print 44, but showing the excavations at a more advanced stage. Similar to print 442. Similar to print 45, but a closer view.[Gelatin silver print, 151x201mm]. Similar to print 465, but taken from a higher viewpoint. Similar to print 47, but from a slightly different vantage point.[Gelatin silver print, 302x253mm]. Similar to print 47. Faded print.[156x109mm]. Similar to print 472. Similar to print 482, but slightly more distant. Similar to print 49, but less faded.[Gelatin silver print, 55x80mm]. Similar to print 51. Similar to print 52, but a smaller print. Similar to print 52, but slightly more distant.[Gelatin silver print, 80x55mm]. Similar to print 526. Similar to print 53. Similar to print 535, but seen from a more vertical angle. Similar to print 55, but horizontal format. Similar to print 552, but a slightly more distant view. Similar to print 555, but with an Indian figure seated beside the base of the column. This shows the same side of the column as print 555, not the opposite side as stated in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). Similar to print 557, but taken from a different angle. Similar to print 559, but a slightly closer detail. Similar to print 56. Similar to print 58. Similar to print 583, but a more distant view. Similar to print 587, but with a figure posed on the minbar or pulpit. Similar to print 592. Similar to print 599. Similar to print 6, but a more general view of the interior. Similar to print 6, but from a different viewpoint. Similar to print 616, but taken from a slightly more distant viewpoint. Similar to print 628. Similar to print 63, but with a figure standing at the base of the sculpture to indicate scale.[Gelatin silver print, faded, 55x80mm]. Similar to print 630, but slightly more distant. Similar to print 64, but a closer view. Similar to print 640. Similar to print 65, but a closer view of the building itself. Similar to print 69D. Similar to print 70. (I.A. Map 30, B2). Similar to print 716. Similar to print 734, but with a group of diggers posed on site. Similar to print 755. Similar to print 764, but from a slightly more distant viewpoint. Similar to print 766, but from a closer viewpoint. Similar to print 76a. Similar to print 79, but with objects arranged slightly differently. Similar to print 79. Similar to print 798, but a clearer image. Similar to print 8.[Gelatin silver print, 55x80mm]. Similar to print 8. Similar to print 8. Similar to print 80, but a more general view of the colonnade. Similar to print 80. Similar to print 803 Similar to print 825. Duplicate at Photo 3/2 (55). Similar to print 852, but slightly more distant. Similar to print 86, but a closer view.[285x193mm]. Similar to print 86.[76x53mm]. Similar to print 86. Similar to print 865. Similar to print 881. Similar to print 89, but a poorer quality image. (I.A. Map 45, C1). Similar to print 89. Similar to print 900. Similar to print 938. Similar to print 968, but in a smaller format. Similar to prints 471a-b, but in landscape format. Similar to prints 50-51, but taken from a slightly different viewpoint.[Sepia toned print, 182x139mm]. Similar to prints 70-71. (I.A. Map 30, B2). Similar to prints 72a-b. Similar to the Kapileshvara Temple. Similar view at Photo 2/9 (27). Similar viewpoint to print, but a closer view. Similar viewpoint to print 1, but with ground covered in hailstones. Probably photographed after the same hailstorm whose effects are also seen in print 401, which is dated April 1908. Similar viewpoint to print 1360. Similar viewpoint to print 178, but a more distant view. Similar viewpoint to print 2.[Platinum print.] Similar viewpoint to print 33, but somewhat faded. Similar viewpoint to print 42a, but slightly closer. Similar viewpoint to print 67. Similar viewpoint to print 700, but a smaller print. Similar viewpoint to print 749, but a very poor quality photograph. Similar viewpoint to print 90. Similar view point to print 95, but more distant. Innermost Asia, vol. 1, fig. 247: 'North-west corner of circumvallated area, Khara-khoto, seen from within. Arrow [at right] marks position of passage cut through north wall.' (I.A. Map 28, C3). Similar view to Photo 332/1 (14), which lists buildings. Similar view to Photo 430/38 (11). Similar view to Print 1035. Similar view to print 121, but faded. Similar view to print 15.[Gelatin silver print, 204x131mm]. Similar view to print 17. Similar view to print 183.[Silver printing-out paper, 292x238mm]. Similar view to print 2. Ghari parked on driveway in foreground. Similar view to print 210, but taken from slightly closer to the building.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 287x208mm]. Similar view to print 23.[Albumen print, signed 'Bourne 1027' in the negative, 292x231mm]. Similar view to print 2994, but taken at a later date, after removal of scaffolding from arches in foreground. With Adham Khan's Tomb visible in the distance at Mehrauli. Similar view to print 428, showing mandapa. Similar view to print 48, but taken in a smaller format.[Gelatin silver print, 204x151mm]. Similar view to print 520, but closer. Similar view to print 538. Similar view to Print 56. Similar view to print 6. Later print from an early (?) paper negative.[Collodion printing-out paper, 233 x 178 mm]. Similar view to print 70, but in a smaller format.[Gelatin silver print, 202x151mm]. Similar view to print 9.[Silver printing-out paper, blind stamped 'Bourne & Shepherd, India', 207x179mm]. Similar view to print 929, but poorer quality. Similar view to Prints 1035-1036. Similar view to prints 15 and 23. Singhalese man praying in front of the shrine.[Gelatin silver print, 55x80mm]. Single-storey block of buildings. Single storey building. Function and location of building unknown. Single storey hospital buildings. Caption notes read: 'Erected to the memory of H.H. the Dowager Maharani Depajammuni, C.I., the fourth Maharani of H.H. Krishna Raja Wodeyay III, who was invested with the Order of the Crown of India in 1878. Her Highness was...for some years, the Guardian of H.H. the late Maharaja. Although Her Highness lived to the advanced age of 89, she retained all her faculties to the end, and made charitable bequests on her death-bed.' Single storey house with verandah and deep overhanging eaves. Single storey pavilion in the palace complex. Single-storey stone house with pitched roof. A rather dark print. Single-storey timber framed building. Single storey windowless building with pilastered elevations. Single story building. Sinilar to print 1923. Sir George Frampton's full-length standing statue of Queen Mary.[Platinum print.] Site described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 123-125. Situated among trees immediately to the west of the Sat Manzili. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 67-68. Situated among trees immediately to the west of the Sat Manzili. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 67-68. Situated at the Qutb to the south-east of Metcalfe's House. For description, see Carr Stephen, The archaeology of the monumental remains of Delhi (Ludhiana and Calcutta, 1876), pp. 171-172. Although the photograph is credited to Cole, it was probably not in fact taken by him: there is no positive indication that Cole was himself a practical photographer. W. Caney is a possible candidate. Cole lists the tomb in this complex as 'decorated in a beautiful and singular way with colored encaustic tiles' in his List of some ancient and other native architectural buildings in India (Simla, 1880), p. 9, where he also states that there are 'no photographs known to exist'. He further notes that restoration of the building would be 'impossible', and that it is 'fast losing all its beauty by removal of tiles, etc.' Situated four miles east of Badami. Similar to pl. xxvi (a) in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926). The location is given as Nandikeshvara in the album caption and Mahakuteshvara in Cousens' work. Situated four miles east of Badami. Similar to pl. xxvi (a) in Henry Cousens, The Chalukyan architecture of the Kanarese Districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926). The location is given as Nandikeshvara in the album caption and Mahakuteshvara in Cousens' work. Situated immediately to the south of the Ghateshvara Temple. This temple, with its companion, can also be seen in pl. xxii of James Burgess, 'Photographs of architecture and scenery in Gujarat and Rajputana' (Bourne & Shepherd, Calcutta, 1874). Situated immediately to the south of the Ghateshvara Temple. This temple, with its companion, can also be seen in pl. xxii of James Burgess, Photographs of architecture and scenery in Gujarat and Rajputana (Bourne & Shepherd, Calcutta, 1874). Situated in the north-west angle of the Khas Mahal. Situated near Humayun's Tomb. Situated to the north of the Bagh Gumpha. Described in Rajendralala Mitra, Antiquities of Orissa (vol. II, Calcutta, 1880), p. 31. Six prints, views of the English Church (formerly Zion's Church), the Town Gate, ruined buildings on the foreshore, an unidentified street and the Maidan. Six prints: two views of the Kashmir Gate, the Iron Pillar at the Qutb, calligraphic stonework on the Qutb Minar, the Jami Masjid and the Jantar Mantar (Observatory).[Silver printing-out paper, various sizes]. Six snapshots of architectural subjects in Delhi: Lodi Tomb, Safdar Jang's Tomb, Jami Masjid, Jantar Mantar (Observatory), Ghiyath-ud-Din Tughlaq's Tomb, the Iron Pillar at the Qutb.[Gelatin silver prints, 100x72mm]. Six snapshot views of Government House and gardens at Maymyo, in two of which are included Butler's pet spaniels.[Gelatin silver prints]. Size 491 (w) x 390 (h) mm. Size 500 (w) x 405 (h) mm. Size 502 (w) x 389 (h) mm. Size 507 (w) x 378 (h) mm. Size 507 (w) x 380 (h) mm. Size 508 (w) x 365 (h) mm. Size 508 (w) x 370 (h) mm. Size 519 (w) x 410 (h) mm.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Slab originally covered the relic chamber seen in print 271. Slab with carved image of Surya, much damaged. Slight fading and yellowing. General view of temple and perimeter wall. Slightly blurred view of doorway and surrounding marble carved work. Slightly distant looking towards Government House, the building itself partially obscured by trees. Slightly distant view, at low water, looking towards a small island and lighthouse. Possibly Oyster Island Lighthouse. Slightly distant view, looking across a lake or tank towards the temples. Reproduced as a lithograph in J.D. Beglar, Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), pl. xvi, and described pp. 128-137. Beglar spells the name Ranipur Jural. Slightly distant view, with a small portion of the fort visible in the background. The attribution to Cole is probably incorrect. Slightly distant view, with the temple partially obscured by foreground buildings. This print also appears as pl. 38 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466). Slightly distant view. Slightly distant view looking across the plain from the south-east. Slightly distant view of a bungalow, built on stilts in Burmese style. Probably accommodation built for one of the engineers of the Mu Valley State Railway at Wuntho. Slightly distant view of a group of memorial stones and small shrines. Slightly distant view of Akbar's Tomb, with garden in the foreground. Slightly distant view of house, with Chakpori Hill beyond. Slightly distant view of monastery buildings. Slightly distant view of monastery buildings on hillside. Slightly distant view of station buildings. Slightly distant view of St Mary's Roman Catholic Cathedral.[Albumen print, numbered '3731' in the negative, 274x210mm]. Slightly distant view of the dzong from across the river. Slightly distant view of the fort, with building largely concealed by hillside in foreground. Some tears and folds down left side of print.[Platinum print, 314x191mm]. Slightly distant view of the Jaya Stambh tower of victory, with surrounding temples.[Printing-out paper, 281x209mm]. Slightly distant view of the palace. Slightly distant view of the Qutb Minar and surrounding ruins. Slightly distant view of the stupa, much eroded at the base. Slightly faded. General view. Slightly faded and unsharp. Slightly faded print. Free-standing pillar with carvings and inscription. Slightly faded print. General view. Slightly faded print. General view. Slightly faded print. General view looking towards entrance of mosque. Slightly faded print. General view of brick base of excavated stupa. Slightly faded print. General view of site. Slightly faded print. General view of the Jain temple complex. Slightly faded print. Similar to print 1979. Slightly faded print. Slightly faded print. View of east face. Slightly faded print. View of pillar with image of garuda above capital. Slightly more distant view, taken from the tower of Trinity Church. Slightly more distant view of the chorten or stupa seen in print 78. With houses in foreground and part of chief temple (see print 81) visible in background. Slightly more distant view of the fa�ade also seen in print 28.[Gelatin silver print, 202x150mm]. Slightly more distant view of the fountain slab seen in print 500 Slightly more distant view of the fountain slab seen in print 678. Slightly oblique view. Slightly oblique view. Slightly out of focus. Head-on view of gateway. Slightly unsharp. 'Showa was a sad sight. The monastery and the palace had been destroyed by the Chinese; though, judged from the ruins, they must have been substantial buildings...' (No Passport to Tibet, p. 92). Slightly unsharp. Close view of sculptural detail. Slightly unsharp. Close view of the spiral minar of the great mosque. Slightly unsharp. General view, with mandapa in foreground. Slightly unsharp. General view of main shrine. Slightly unsharp. View from inside the fort looking down onto the semi-circular colonnade fronting the prison quarters. A row of small square windows, presumably of the cells, looks out above the colonnade. Duplicate at Photo 3/2 (105). Slightly unsharp snapshot. Smal format print. Small, flat-roofed crude stone building. Small, monlithic temple/shrine. Small, open-sided four-columned mandapa with pointed dome. Small, poor quality image.[Albumen print, 42x44mm]. Small, poor quality image of a house on stilts.[Albumen print, circular image, 44x42mm]. Small, square format print. Named figures standiung in courtyard. Small brick pagoda in a state of disrepair. This photograph also appears as plate 32 in F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). See Photo 998. Second copy negative at B.25604. Small brick pagoda in ruined condition in front of the Kawgun Cave, with Burmese group seated on ground in foreground. Plate 40 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893).[Albumen print]. Small brick stupa, photographed just after excavation. Small carved fragment. Small cave with three openings supported on two large pillars, square at top and bottom, with an octagonal section in the middle. Two Indian men stand at the entrance, one posed in the act of measuring the pillar. Small cave with three openings supported on two large pillars, square at top and bottom, with an octagonal section in the middle. Two Indian men stand at the entrance, one posed in the act of measuring the pillar. Small chhatri. From north-west. Small chorten or stupa beside the road. Small domed shrine in the Motisah Tuk. Small domed structure near the rock-cut mosque (print 136). (Ancient Persis Map C2). Smaller copy of print 36. Smaller copy of print 80.[Gelatin silver print, 80x57mm]. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small formate print, poor quality and printed from a broken negative. Small formate print, poor quality and printed from a broken negative. Small format print, amateur quality. Sculpture piece partly out of frame. Small format print, amateur quality. Sculpture piece partly out of frame. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, amateur quality. Small format print, looking towards interior of shrine and showing sculptured doorway. See note at print 2168. Small format print, poorish amateur quality. Small format print, rather dark. Small format print, rather dark. Small format print, slight vignetting at top if image. Small format print, slight vignetting at top of image. Small format print, slight vignetting at top of image. Small format print, somewhat dark, amateur quality. Small format print, somewhat dark, amateur quality. Small format print, with vignetting at top of image. Small format print. Close view of base of left side of doorway, with a European figure standing beside it to indicate scale. A linga can be seen inside the temple in the background. 'Being invited by Mr Lang, the Political Agent, I proceeded to his camp at Bhojpur, 16 miles to the south of Bhopal. Here I found one of the most colossal temples I have yet seen, that of Bhojesvara, a temple badly in need of repair, but which, on account of the bees which infested its roof, and the limited time at my disposal, I was unable to examine as minutely as I could have wished...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 7). Small format print. Close view of part of the lintel over the doorway. Small format print. Close view of small section of wall and base. Small format print. Close view of two sculptured slabs. Small format print. Distant view of sculpture pieces beneath tree at side of tank. Small format print. General view, with columned porch in foreground. 'The most important building...is the temple of Randal - sun worship again - situated in the fields to the north-east of the village. This, though a small temple, has been constructed in the same manner as the Kadvar one. It is about the same size almost as the temple of Surya at Sutrapada...Everything is severely plain and simple.' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 20). Small format print. General view. Small format print. General view of excavated site. Small format print. General view of excavated site. The print is reproduced as Fig. 3 in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). Small format print. General view of square, domed tomb; unidentified. Small format print. General view of square, domed tomb. Small format print. General view of temple buildings, 'of no special interest.' according to Cousens (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 15). Small format print. General view of the entrance gateway to the Citadel.[Printing-out paper, 112x153mm]. Small format print. General view of tomb, a square domed building. Photograph taken by Cousens' photographic assistant: 'When I left Hyderabad for Hala via Shahdapur, I sent on a draftsman and photographic assistant direct by road, thirty miles, so as to visit and get photos of the mosque and tombs at Matiari on the way. These were found to be of no great interest, the oldest being about 130 years old' ('Progress Report of the Archaeological Survey of Western India. For the months September 1895 to April 1896', p. 7). Small format print. General view of tomb, a tall square domed building. Photograph taken by Cousens' photographic assistant: see note at print 1449. Small format print. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1298). Small format print. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1299). Small-format print. See print 123 for a larger image of the same column. The attribution to Johnston is tentative. Small format print. See print 2168 for a better view. Small format print. Small format print. Small format print. Small format print. Small format print. Small format print. Small format print. Small format print. Small format print. Small format print. This figure also appears in prints 977-978. Note with Jamal-Garhi prints reads: 'The plates entered here also include photographs taken from sculptures coming from Takht-i-Bahl and Shahr-i-Buhlul. No separate arrangement was possible. nearly all the sculptures coming from these places are now in the Indian Museum, Calcutta.' Small format print. View looking across site, with excavated area in foreground, with jars embedded at side at of trench.The print is reproduced as Plate XLVI (a) in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). Small format print. View looking along the fa�ade of the ruined temple towards a columned balcony supported on brackets. Small format print. View looking along the galleries of the step-well. Small format print. View looking along the ruined colonnade.[Printing-out paper, 112x157mm]. Small format print. View looking towards the entrance to the tomb. The fa�ade is covered in glazed tile work. Possibly the Tomb of Makhadum Mir Muhammad. Small format print. View of columned mandapa. Small format print. View of columns in the interior of the well. Small format print. View of excavated trench with an exposed pile of large cylinders, an Indian figure standing beside the rings: 'Close to the large mound, in the north-west corner of the city...is a curious deep narrow well. It is about two feet in diameter, and is formed of deep earthenware rings or cylinders, placed one above another, to form, as it were, a great vertical pipe. Each section is provided with flanges so as to prevent the one telescoping into the other...' (Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906, pp.132-144), p.p. 135-6 and Fig 2). Small format print. View of remaining standing columns: 'The small Varaha chhatri probably stood in front of a Vaishnava temple facing the south, which has disappeared, if indeed it was not the entrance porch of it...The pedestal only, of the boar, which he [Cunningham] describes, now remains, it having been smashed since his last visit' ('Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 32). Small format print. View of the ruined mosque from the south-west. Small format print from a damaged negative, amateur quality. Small format print from a damaged negative, amateur quality. Small format print from damaged negative, amateur quality. Small format print from damaged negative, amateur quality. Small format print from damaged negative, amateur quality. Small format print made from a badly damaged negative, amateur quality. Small format print made from a badly damaged negative, amateur quality. Small format view, vignetting at top of image. Small format view, with some vignetting at corners. Taken from a similar viewpoint to print 408a, but giving a slightly wider field of view. Small format view. Small Jain temple on platform, shaded by tree. Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 40-41. Small memorial stone with carving of hunting scenes.[Printing-out paper, 168x187mm]. Small mosque and tomb, reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxii (a) and described p. 87. This mosque is numbered 329 in the plan at the end of the volume. Small mosque and tomb, reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxii (a) and described p. 87. This mosque is numbered 329 in the plan at the end of the volume. Small mosque with corrugated-iron shade running along length of screen. Small mosque with triple-arched screen and single dome. Small open-sided, four-columned mandapa with stepped pyramidal roof. Small open-sided pavilion. Small open-sided pavilion or chhatri on a knoll in the garden. Small open-sided thatched summerhouse.[Printing-out paper, 96x71mm]. Small pagodas in the precincts of the Shwe Dagon Pagoda, with food seller's stall in foreground. Second copy neg at B.25638. Small palace buildings and tank. Small print, probably half of a stereograph by Gill? Small print. Possibly by Impey. Small print. Possibly by Impey. Small print. Possibly by Impey. Small print. Small print. Small print. Small print mounted with a letterpress caption. Small print of a bungalow. Small print showing a gateway and station building beyond. Small sculpture slab with image of Vishnu. Small shrine with tower. Small snapshot, with sheep in roadway in foreground.[Gelatin silver print, 76 X 43 mm]. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. View across the courtyard of the Jama Masjid. Small snapshot. View from entrance. Small snapshot of young girl in front of bungalow.[59x37mm]. Small snapshot view. Small snapshot view of a family home of the Danes. Small square tomb, dome collapsed and in ruinous condition. Small stone bridge. Small stone building standing in deep snow at the head of the pass. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 230. Small stone shrine. Small stone shrine. Small temple in the hills near Simla. Small thatched bungalow, with large shaded verandah in foreground. A pair of chinthes at the entrance to a group of pagodas (partially visible) can be seen in the left background. Small votive stupa in front of the Mahabodhi Temple. Small votive stupa inside cave. Snapshot, poorish quality. Snapshot, poorish quality. Snapshot, poorish quality. Snapshot, poor quality, looking across the step-well. Snapshot, poor quality, of group of pots of plants with building beyond. Snapshot, poor quality. General view of building. Snapshot, poor quality. Snapshot, poor quality. Snapshot, poor quality. Snapshot, poor quality. Snapshot, poor quality. Snapshot, similar to print 31. Snapshot. General view from driveway. Snapshot. General view of entrance. Snapshot. General view of gateway. Snapshot. Indians posed in front of the River Gate in Seringapatam (modern Shrirangapattana) where Tipu Sultan was killed. Snapshot. Showing figures seated in front of wall. Snapshot. Showing open-sided pavilion erected over unidentified grave. Snapshot. Showing pierced stone decoration on wall. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Temple entrance gopura in the Ranganatha Temple. Snapshot. View looking across court towards wall with arched doorways, Snapshot. View looking along mosque wall. Snapshot. View looking towards gateway of the the caravanserai. Snapshot. view of the Meruvardhanaswami Temple, near Srinagar. Snapshot from the river. Snapshot groups of visitors and friends at Jodhpur Residency, views of house and gardens, including panoramas of interior composed of several joined prints. Group include Lord and Lady Hailsham. Snapshot looking across open land towards the house. Snapshot looking towards gateway. Snapshot of a Buddhist temple? Snapshot of a family group, probably the La Touche family, posed in front of an unidentified English house.[100x75mm]. Snapshot of an unidentified bungalow.[Gelatin silver print, 79x55mm]. Snapshot of an unidentified house. Snapshot of a summer-house in a garden. Snapshot of corner of an unidentified room, probably a drawing room. Snapshot of the angel statue. Snapshot of the drawing room also seen in prints 51-2. Snapshot of the Shankaracharya Temple. Snapshot showing corner of mosque and entrance to tunnel. Enclosed with letter of 10 November 1927 from Dr Hunt to his children, describing a visit to Bidar.[70x95mm]. Snapshot size copy of print 10. Snapshot size copy of print 12. Snapshot size copy of print 8. Snapshot size copy of print 9. Snapshots of architectural subjects.[Gelatin silver prints]. Snapshots of Government House, Pachmarhi and other bungalows. Also a view of the Thatched House, Supkar and of the tomb of Alexander Eliot, Sarangarh State.[Gelatin silver prints]. Snapshot view, looking along the street towards the building. Snapshot view, looking over rooftops towards the shrine.[100x64mm]. Snapshot view, taken from the Ornamental Garden. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view (faded) looking towards the fort. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 105x61mm]. Snapshot view across gardens towards mountains. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 105x61mm]. Snapshot view across pool towards pavilion in the Shalimar Bagh. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 62x106mm]. Snapshot view from driveway. Snapshot view from garden, looking towards brick bungalow. Unsharp.[Gelatin silver print, 77x102mm]. Snapshot view from garden.[Gelatin silver print, 98x73mm]. Snapshot view from pavilion looking along terrace and pool. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 63x104mm]. Snapshot view from the gateway. Snapshot view from the river. Snapshot view from the river. Snapshot view in the Shalimar Bagh. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 103x59mm]. Snapshot view looking across a pool in the Shalimar Bagh, with the Viceroy's party on the far side.;[Gelatin silver print, 79x56mm]. Snapshot view looking across the tank towards the temple.[100x74mm]. Snapshot view looking along pool towards pavilion, with members of the viceregal party. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 62x103mm]. Snapshot view looking along street towards unidentified buildings.[Printing-out paper, 63x109mm]. Snapshot view looking along the walls of the hill fort.[Printing-out paper, 107x62mm]. Snapshot view looking back along the garden towards the gateway. Snapshot view looking towards an unidentified domed tower.[Printing-out paper, 109x63mm]. Snapshot view looking towards an unidentified Muslim tomb.[Printing-out paper, 110x64mm]. Snapshot view looking towards a pagoda. Second copy negative at B.25630. Snapshot view looking towards factory buildings.[Gelatin silver print, 101x77mm]. Snapshot view looking towards the ramp leading to the fort entrance.[Printing-out paper, 108x64mm]. Snapshot view of a bungalow. Poor quality print. Snapshot view of a domestic interior, captioned on the reverse in a later hand: 'Room in Simla House?'[Silver printing-out paper, 99x91mm]. Snapshot view of an unidentified building.[Printing-out paper, 109x63mm]. Snapshot view of an unidentified building.[Printing-out paper, 110x63mm]. Snapshot view of a pavilion. Snapshot view of a ruined palace? Snapshot view of a section of a palace building. Snapshot view of a small Buddhist temple. Snapshot view of a street scene in Cuddapah.[Printing-out paper, 63x110mm]. Snapshot view of a temple. Snapshot view of a thatched bungalow. Snapshot view of a train entering a station. Snapshot view of a two-storey house in an unknown location. Snapshot view of Birbal's House. Snapshot view of brackets and pillars round a window. Snapshot view of building. Snapshot view of chalet, with group in front. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 105x62mm]. Snapshot view of Lord Linlithgow's party visiting the Shalimar Bagh. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x62mm]. Snapshot view of palace. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 102x60mm]. Snapshot view of palace buildings. Snapshot view of part of a holiday bungalow. Snapshot view of pilasters with carved figures. Snapshot view of pool and portion of pavilion in the Shalimar Bagh. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 106x61mm]. Snapshot view of the Club with a group including the Stotherds standing outside. One of four prints titled: 'United Services Club, Mashobra. Carignano near Naldera. Oct 5th 1922'. Snapshot view of the Diwan-i-Khas. Snapshot view of the gardens. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 102x58mm]. Snapshot view of the house from the Ornamental Garden. Snapshot view of the Mussaman Burj. Snapshot view of the palace. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x59mm]. Snapshot view of the Panch Mahal. Snapshot view of the tomb.[102x74mm]. Snapshot view of the tomb. Snapshot view of the Tuncum from the garden. Originally a building attached to the Palace at Madurai, the Tuncum was the residence of the British magistrate from the 19th century. For other views and a note on the building see, Photo 212/2 (35) and Photo 953/1 (5) Snapshot view of unidentified building.[Printing-out paper, 110x63mm]. Snapshot view of unidentified building.[Printing-out paper, 111x63mm]. Snapshot view of unidentified building.[Printing-out paper, 63x109mm]. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot views of house and garden. Snapshot view taken from the Ornamental Garden. Snapshot view through trees. Snow scene, looking towards the house. The nameplate on the gate announces it as the residence of 'Mr A. O'Meara, Surgeon Dentist'. O'Meara had come to Simla in 1850, and was for many years the only dentist in the Punjab. Some tarnishing of print surface. View looking towards the Raja Mahal, with the ruined Shiva Temple in the foreground. Some torn patches on print surface, main part of image unaffected. Somewhat distant view, the buildings partially obscured by trees. Somewhat distant view looking towards the cluster of cave temples. Somewhat distant view of the observatory. Somewhat distant view of the stupa mound, with the standing pillars of a hall in the foreground.[Gelatin silver print, 55x80mm]. Somewhat faded print. Close view of stupa bases. South-east corner of Potala from below. South-east gateway into the Bala Hissar. Duplicate of Photo 447/1 (16). South-east minaret, with part of main dome in background. South-east view of Draupadi and Arjuna Rathas. Duplicate (later printing) of Photo 1000 (3088). Another copy at Photo 212/5 (34). Southern side. Duplicate at Photo 10/18 (26). Southern side. Duplicate at Photo 10/18 (30). South facade of Addiscombe House. South face of the Sultan Ahmet III Fountain.[Albumen print, 383x310mm]. South face of tomb, with doorway. South fa�ade of the Alai Darwaza.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 287x209mm]. South front. South gateway to the Taj complex. South-west view. The print has been touched-up in several places, particularly in the foliage on the left and the boat on the Jumna. It is listed in H.Hering's catalogue of Beato photographs as either No.1 or 2 in the section 'India - Agra, and Benares or the Sacred City (Third Series)'. South-west view of the Potala from Chakpori Hill, not Bar-ma-ri. Square brick building with thatched roof. Square in left foreground, with the Masjid-i-Shah beyond. Square panel carved with repeating geometric designs in receding planes. Square stone slab with window opening. Square structure with sloping eaves, four angle towers and a larger, central tower. India Museum no. 206. Duplicate of Photo 1000 (3425). Square tiered shrine. Square tomb with fluted dome. Square tower. Square tower. Square tower. Square trough decorated with shells: 'A very curious thing in the Bassein fort is the shell bath. This is a small water cistern the whole of the exterior of which is decorated with sea shells set thickly together in cement to form patterns on the surface of the walls. On the front wall, under the steps, are miniature grottoes let in and formed of great masses of rock crystal. The walls were further embellished with coloured China plates fixed at intervals, but these have now been broken away' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', pp. 6-7).[Printing-out paper, 267x213mm]. Squat brick bungalow, possibly accommodation for European staff connected with the bridge building seen in the preceding three prints. Stairway and moonstone at entrance to unidentified structure.[Gelatin silver print, 115x89mm]. Standing Buddha image in recessed niche. Standing female figure. Standing figure of a Jain tirthankara. Standing in the foreground are two European children with their ayahs. Standing male figure, probably Mricchakunda. State Police headquarters (?) viewed from across the street. Statue inside temple. Statue of a reclining Buddha figure, with a temple pagoda in the background.[Printing-out paper, 102x78mm]. Statue of Raja Sarfoji and another smaller figure. Duplicate at Photo 1008/10 (6G).[152x203mm]. Statue of uncertain identity: Elliot (Madras) no. 62, Knox (1992) no. 127; statue of Bodhisattva Vajrapani: Elliot (Madras) no. 61, Knox (1992) no. 125; fragment of railing coping: Elliot (Madras) no. 94, Knox (1992) no. 46. Statue unveiled by the Viceroy, Lord Northbrook, on 29th April,1872. The letterpress descriptions of Prints 36-38 are all on a single page between Prints 35 & 36. Stein standing at right in middle distance. Stelae with carved panels of tirthankara images. Stepped pyramidal mound, with tents in foreground. Steps and entrance to mosque, with worshippers entering.[Gelatin silver print, 139x90mm]. Stereo half. 'The sketch shows the realization of a fanciful conceit of the late Nizam'sminister, all the ornamentation of a romm in his residence being produced by China plates, cups, and saucers, disposed to represent various devices. They are multiplied by numerous mirrors attached to the walls. The figures in front are four Arabs, part of the minister's body-guard.' Stereo half. 'This is an extremely beautiful example of the elegance displayed in the erection of tombs in India to illustrious persons. That here depicted was raised in honour of the mother of Nawaub Shumsh-ool-oomra, of Hyderabad, who is commander-in-chief of the Nizam's troops. The entire structure, however, represented in the view is not the lady's tomb - that portion on the left being a distinct edifice, which the Nawaub is constructing to contain his own remains.' Stereo half. A slightly distant view of the entrance, possibly one side of the Indra Sabha? The attribution to Johnston is tentative. Stereo half. Close view of entrance, with two cusped arches and a lattice-work screen beyond. 'Within the doorway on the right, composed of beautiful fretwork, will be seen the tomb of the lady over whose remains this beautiful edifice has been raised. The tomb is generally covered by an embroidered cloth of gold. The figure on the right in the foreground is the Mahomedan guardian of the tomb.' Stereo half. Distant view of the hill fort, with a tomb in the foreground. Stereo half. Duplicate of print 127. Stereo half. Duplicate of print 131. Stereo half. General view from the driveway. Stereo half. General view of temples. Stereo half. General view of the open-sided shed over the ablution tank. Stereo half. General view of tomb and mosque. Stereo half. Head-on view of the fa�ade, with Indian figures posed in foreground. The attribution to Johnston is tentative. Stereo half. One of the ruined Royal Tombs. Stereo half. Rear view (distant) from the garden. Stereo half. Stereo half. Stereo half. The attribution of this photograph to Johnston is tentative. Stereo half. The attribution to Johnston is tentative. Stereo half. The attribution to Johnston is tentative. Stereo half. The attribution to Johnston is tentative. Stereo half. The attribution to Johnston is tentative. Stereo half. The portion of the fa�ade seen here can be seen in the centre of print 158. The attribution to Johnston is tentative. Stereo half. The view shows only a small portion of the temple, with the free-standing column at the left. The column was photographed in 1874 by J.J. (J. Johnston) before it collapsed against the adjoining rock face (see print 146) and it is probable that this view was taken on the same occasion. Stereo half. View in courtyard, looking towards group seated on verandah. 'This view shows one of the courts of the lovely residence, in the city of Hyderabad, of the commander of the Nizam's troops. The Nawaub, his son, grandson, and attendants, are seated and standing under the colonnade. Fountains and globular lamps of various colours are in the foreground.' Stereo half. View looking across the court of the mosque towards the east fa�ade, showing the open-sided shed over the ablution tank. Stereo half. View looking along a street towards the temple. Stereo half. View looking along the colonnaded verandah, towards a European group at a table, with servants standing around them: 'The builders of these venerable tombs little imagined that their sacred courts and colonnades would ever be used for such a purpose as this picture represents...It must be confessed however that no better placed could be found for a picnic than that here represented, being deliciously cool. The seated figures are engaged in this pleasant relief from military monotony. The standing figures are their servants.' Stereo half. View of a group of tombs. Stereo half. View of large domed tomb. Stereo half. View of large domed tomb from neighbouring hillside. Stereoscopic half. Stereoscopic half. The attribution to Johnston is tentative. Stereoscopic pair. Stereoscopic pair. Stereoscopic view. '...A large and somewhat imposing structure, has escaped the ravages of time more successfully than most of the other buildings. According to the 'Mackenzie Manuscripts' it was the building occupied by the king's guard, for which, from its situation, it was well served. At the present time, it furnishes accommodation for the Zillah School established and supported by Government.' Stereoscopic view. 'A view in the interior of Vihara No. 17, representing the first row of pillars internally from the entrance.' Stereoscopic view. 'The building occupied as a jail, of which a portion is seen in the view, was built for a choultry by Mangammal, who governed Madura as Regent during the infancy of her grandson Vijia Runga Chokanatha Nayak, about the beginning of the last century...The Jail still bears the name of Mangammal choultry...' Stereoscopic view. 'View further down the River Kowlah, showing the second bridge over, and the Mosque of Shah Mosuffer on the right hand.' Stereoscopic view. 'View of one of the bridges over the River Kowlah, at Aurungabad, with the Garden and Mosque of Shah Mosuffer Safi on the right hand.' Stereoscopic view. 'View of the building seen over the external enclosure walls, which surround a garden, thirty acres in extent, ornamented with fountains and kiosks in all the picturesque variety of Indian art.' Stereoscopic view. 'View taken at the south-east angle of the basement.' stereoscopic view. A clearer view of the pavilion. Stereoscopic view. A contrasty and indistinct print. Stereoscopic view. A much clearer view of the sculptures than print 19. Stereoscopic view. Another view of cells in Vihara Cave XII. Stereoscopic view. Bag of shot birds. Stereoscopic view. Carved figures on a column in the Pudu Mandapa. Stereoscopic view. Carved pillars at the entrance to the Pudu Mandapa. Stereoscopic view. Closer view of the main tomb. Stereoscopic view. Close view of carved pillar/. Stereoscopic view. Close view of carved pillar. Stereoscopic view. Close view of entrance doorway decorated in bronze, with Indians playing puchesi in the foreground. Stereoscopic view. Close view of marble trellis-work windows. stereoscopic view. Close view of pilastered fa�ade of the shrine.] Stereoscopic view. Close view of sculptural detail. Stereoscopic view. Close view of sculptured pillars. Stereoscopic view. Close view of sculpture panels in the triforium belt above the side columns. The sculptures take the form of Buddha images in niches surrounded by foliate forms. Stereoscopic view. Close view of sculpture to right of doorway. Stereoscopic view. Close view of steps leading up to doorway stereoscopic view. Close view of the entrance to the ghats. Stereoscopic view. Close view of two of the columns of the fa�ade. stereoscopic view. Curved water spout and stone strough beneath. Stereoscopic view. Distant view of the east series of caves, seen from the river bed. Duplicate (later printing) of Photo 1000 (2052). Stereoscopic view. Duplicate of Photo 1000 (2099a). Stereoscopic view. Exterior view of the mosque attached to the Tomb. Stereoscopic view. Fountain in the garden of the tomb. Stereoscopic view. General head-on view of fa�ade. The column on the left is seen standing upright (it collapsed against the rock face in the 1870s). Stereoscopic view. General head-on view of the entrance. Stereoscopic view. General view. stereoscopic view. General view. Stereoscopic view. General view looking across the tank. Stereoscopic view. General view of Raja Rai Singh's Cenotaph. stereoscopic view. General view of the classical fa�ade of the church named built by the Christian missionary F.C. Schwartz Stereoscopic view. General view of the columned fa�ade of the mandapa. Stereoscopic view. General view of the fa�ade. stereoscopic view. General view of the Subramanya Shrine. Stereoscopic view. Head-on view of the fa�ade of the Shrine of the River Goddesses in the north-west corner of the temple. Stereoscopic view. Interior, showing carved columns with cushion capitals. Stereoscopic view. Interior view of the mosque attached to the Tomb. Stereoscopic view. Interior view with sculptured pillars. Stereoscopic view. Left-hand side colonnade. stereoscopic view. Massive cusped arch in the quadrangle. Stereoscopic view. Oblique view along the columned fa�ade of the mandapa. Stereoscopic view. Presumably the Hindu Vaishnava Temple. Stereoscopic view. Sculpture of Vishnu seated beneath a naga canopy. The sculpture can also just be seen at the extreme left of print 20. Stereoscopic view. Sculpture panel of Shiva and Parvati playing at dice. Stereoscopic view. Showing an unidentified European man sitting in the garden, with the screen of the tomb visible in the background. stereoscopic view. Shrine in the centre of the tank. stereoscopic view. Side view of the nandi pavilion. Stereoscopic view. Similar to print 23. Stereoscopic view. Similar to print 5, but slightly more distant, and giving a more general view of the sculptured attached columns on the inner faces of the Raya Gopura. Stereoscopic view. Similar to print 58. stereoscopic view. Steps lined with carved pillars. Stereoscopic view. stereoscopic view. Stereoscopic view. stereoscopic view. Stereoscopic view. Stereoscopic view. Stereoscopic view. stereoscopic view. Stereoscopic view. Stereoscopic view. stereoscopic view. Stereoscopic view. Stereoscopic view. Stereoscopic view. stereoscopic view. stereoscopic view. Stereoscopic view. Stereoscopic view. Stereoscopic view. Stereoscopic view. The Bazar Street. This street is the one in which the principal bazars of madura are located. The two tower like structures are the Ter muttis, or landing platforms, by which the gods ascend and descend from their cars. One of these cars is seen in the view...' Stereoscopic view. The sculpture is in shadow. Stereoscopic view. View from left showing fa�ade and part of interior. Stereoscopic view. View from south-west of upper portion of temple vimana. Stereoscopic view. View from the gallery in the window, looking along the right-hand side of the chaitya hall, and showing the sculptural panels in the triforium belt, with the ribbed roof above. Stereoscopic view. View from the left, looking along the fa�ade. Stereoscopic view. View from the left of the fa�ade of Chaitya Cave IX. Stereoscopic view. View from the left of the fa�ade of Vihara Cave V. Stereoscopic view. View from the left of the fa�ade of Vihara Cave VII, consisting of a large verandah, with cells opening directly from the back. Stereoscopic view. View from the left of upper portion of fa�ade of Chaitya Cave XIX, showing horseshoe window and surrounding sculpture. Stereoscopic view. View from the right of the fa�ade of Vihara Cave No. 20, with Gill standing in front of the column in the foreground. Stereoscopic view. View from the right of the two-storeyed fa�ade. Stereoscopic view. View from the right of the upper part of the fa�ade of Chaitya Cave XXVI, showing horseshore window and surrounding sculptural detail. Stereoscopic view. View looing towards the unfinished Raya Gopura, with the Pudu Mandapa and the Eastern Gopura beyond. Stereoscopic view. View looking across the domed rooftop. Stereoscopic view. View looking across the Teppakulam Tank Stereoscopic view. View looking along the colonnade towards a group of vahanas (vehicles for carrying the temple deities). An indistinct view. Stereoscopic view. View looking along the colonnade towards a group of vahanas (vehicles for carrying the temple deities). Stereoscopic view. View looking along the dark interior of the mandapa, with statues carved on the columns at the right. Stereoscopic view. View looking along the interior of the arcade. Stereoscopic view. View looking along the interior of the arcade. Stereoscopic view. View looking along the interior of the Pudu Mandapa. stereoscopic view. View looking along the wall of the main shrine, with part of the smaller Parvati Temple on the left. stereoscopic view. View looking aong the street towards the entrance gopura of the Shiva Temple. Stereoscopic view. View looking eastwards along the central series of caves, with Caves IX and X in the foreground. The bearded figure of Gill himself is seated on a rock in the left foreground. stereoscopic view. View looking into the interior of the mandapa. Stereoscopic view. View looking over the roofs of houses towards the east gopura of the temple. Stereoscopic view. View looking south-west from the verandah of Cave XVI. Stereoscopic view. View looking towards doorway of Chaitya Cave XXVI. stereoscopic view. View looking towards Flaxman's statue of Raja Sivaji, which stands on a platform beneath one of the arches of the quadrangle. stereoscopic view. View looking towards the nandi pavilion, with the gopura with the pot finial beyond. stereoscopic view. View looking towards the pillar in the mandapa Stereoscopic view. View of cells in Vihara Cave XII. stereoscopic view. View of columned interior. Stereoscopic view. View of entrance gateway. Stereoscopic view. View of entrance gateway leading to the enclosure. Stereoscopic view. View of massive cusped arches in the palace. Stereoscopic view. View of part of verandah and side chapel. Stereoscopic view. View of right-hand side of fa�ade and small chapel. stereoscopic view. View of the main shrine, with its towering gopura with pot finial. Stereoscopic view looking towards church, with protective walls in foreground.[Salt print, 140x71mm]. Stone and thatch cottage. Stone angel carved by Marochetti. Stone beam with carved moulding. Stone bridge completed in 1568. From north-east. Stone carved with repeating floral motif. Stone cchatri with flight of steps flanked by elephants. Stone column standing on small, open-sided square pavilion. Duplicate (later printing) of Photo 1000 (3057). Another copy at Photo 212/5 (1) Stone figure, photographed against wall. Stone fragments with relief carving. Stone framework for swing in Brahmeshvara Temple. Stone gateway flanked by sentries at the entrance to the park containing the Dalai Lama's summer quarters. Stone pillar with rounded ends: origin unspecified. Stone railings of anclosure in foreground, with stupa mound beyond.[Gelatin silver print, 80x55mm]. Stone sculpture of female temple guardian figure. Stone section with scrollwork carving. Stone shrine with domed roof. Stone slab, inscribed as follows: 'No. 1 The face of this stone is the boundary of the Esplanade and the line is to be drawn straight to Obelisk No. 2 westerly. A.D. 1822. [blank] feet from the salient angle of bastion No. 1.' Duplicate at Photo 1008/10 (15G). Another copy at Photo 3/1 (51), there captioned, 'Stone slab in Washermanpet Police Station House, Madras, 2'6'' x 2'0''.'[202x152mm]. Stone slab with calligraphic carving. Stone statue of a seated figure.*Extra print, not included in original published version.[Albumen print,84x95mm]. Stone with calligraphic design. Stone with relief carvings of heads and other designs. Street fa�ade of the Hawa Mahal. Street in the fort with palace buildings at right Street scene with gate in the background. Street scene with the gateway on the left. This is a copy of number 31 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. See Introduction for notes on the negatives. Street scene with Tibetan houses. Poor quality print. Strong Islamic influence in the style. Structure partially concealed by trees. The remains at Rajapodor are described in J.D. Beglar, 'Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76' (A.S.I. vol. XIII, Calcutta, 1882), pp. 120-126. Structure partially concealed by trees. The remains at Rajapodor are described in J.D. Beglar, Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), pp. 120-126. Stupa fragments (railing pillars?) with decorations carved in relief. Stupa fragments carved in bas relief. Stupa fragment showing section of frieze of male figure with garland. Stupa fragment with relief panel of scene from the Buddha's life. Stupa fragment with two friezes, showing running men with an undulating garland (above) and animal and human scenes (below). Stupa group in trench. Stupa with gateway beneath. Substantial two storey building. Sule Pagoda and City Hall visible in the middle distance. The building in the foreground is possibly the side of the Reserve Bank of India. Suspension bridge across the Sanodha at Saugor. T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the India Office' (Calcutta, 1900): 'A fanciful restauration 'from portions found near Gandheri''.Now in the Indian Museum, where this photograph may have been taken.'...The present village of Gandheri, which may be connected with the old name Gandhara...A little north of Gandheri, and not a mile from the village, the site of a stupa is traceable. A small vihara, such as is generally found near stupas, was excavated here; the base was standing, and it has since been built up with other portions excavated near it. The sculpture is very old and good, and much of it shows traces of gilding. It has been made over to the Imperial Museum.' (H. A. Deane,' Notes on Udyana and Gandhera', Journal of the Royal Asiatic Society, 1896, pp. 667-668). T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), dismisses the pieces as 'of no particular interest', although Beglar reports, op. cit., p.76: 'Most of the sculpture is broken; some are large life-size, others small, but the execution is excellent, and superior to a good deal of what I have seen elsewhere.' T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900): 'I do not know know to which building this gate belongs.' T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) notes: ''Plate labelled 'Dehli'. No such building, however, exists in Delhi.'' The portion of the building in the foreground appears to have been adapted in European style, with a verandah and brick additions. If the building behind forms part of the mosque attached to the tomb, this might accord with Syad Muhammad Latif's statement that 'the mosque attached to it has been converted into a private European residence' ('Lahore: its history, architectural remains and antiquities' (Lahore, 1892), p. 108). Table in foreground laid out for a meal. Taj Mahal from south-east corner of terrace. Taj Mahal with part of town in foreground.[Lantern slide, 73x73mm]. Taken at the same time as Photo 52 (22).[Modern print from original waxed calotype negative, 473x370mm]. Taken from a high vantage point looking down into the compound. Taken from a high vantage point looking down into the compound. Taken from a similar viewpoint to 1889, but with a longer lens. Taken from a similar viewpoint to print 23, but with camera pointing almost due west, and showing part of arcade running along the south side of the temple. Taken from same viewpoint as print 167: the two prints can be joined together to form a panoramic view of the rock temples. (I.A. Map 46, B4). Taken from the same elevated viewpoint as print 302.[Gelatin silver print, 155x105mm]. Taken from the same viewpoint as print 1445, but at a later date and showing restoration work undertaken in the early 1880s. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Taken from the same viewpoint as print 1445, but at a later date and showing restoration work undertaken in the early 1880s. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Takne from an elevated viewpoint. Tall, slender, open-sided, cruciform mandapa. Tank in foreground, with mandapa and gopura beyond. Tank in foreground with entrance gopura beyond. Tank with shrine in foreground, with waterfall visible in background. Teak bungalow on brick foundations. Possibly the rest house at Heho. Temple and ghat at Pushkar. Temple and ghat on the bank of the River Gogra. Temple bell hanging from wooden crosspice supported on caved wooden posts. With temple pagoda in background.[Gelatin silver print, 70x124mm]. Temple buildings, taken from a similar viewpoint to print 29, but with donor pillar of King Bhupatindra Malla largely out of picture at right. Temple buildings in foreground, with palace apartments beyond. Temple buildings set against background of massive boulders. Photo 1000 (1069) is a reduced and cropped copy of this print. Temple car, with villagers gathered round. Temple car in centre, mandapas to either side. Duplicate (later printing) of Photo 1000 (3164). Another copy at Photo 212/7 (26). Temple car in foreground, gopura of Chamundi Temple beyond. The car was presented to the temple by the Maharaja of Mysore in 1848. For an earlier photograph (1860s), see Photo 512 (11). Duplicate at Photo 2/9 (17). Temple entrance. Temple erected by the merchants, Vastapula and Tejapala. Temple gateway in Chinese style. Temple gopura from street.[Gelatin silver print, 78x98 mm]. Temple in double hut (jorbangla) style, with curved eaves and central tower. India Museum no. 201. Duplicate of Photo 1000 (3419). Temple interior, showing carved wood capital of pillar. Temple interior, showing sculptured columns and sanctuary doorway. Temple mandapa, with richly-carved walls. The temple is identified as the Lakshmi Narayana Temple in the following print. Temple mandapa in foreground. Temple on the bank of the canal. Temple ruins, with elaborate carved reliefs. Temple ruins. Temple ruins. Temple sculpture in the Shiva Temple. Temple view. Temple with mandapa at left, granary to the right. Temple with mandapa at left, granary to the right. Ten snapshot-sized views showing the Buddhist monastery in various stages of construction: with tower under scaffolding, completed, and opening ceremony. Tentative identification. The attribution to Cole is probably also wrong. Terrace of the Samman Burj. Terracotta brick with inscribed figure. Terracotta Buddha image, considerably damaged, on pedestal. This is the same piece seen in print 548, but here the Buddha image has been place on top of the pedestal. Terracotta fragment with Buddha image, inscribed. Terracotta jataka plaque. Terracotta plaques with figures carved in relief. Thatched structure, raised on stilts. Negative marked up for cropping. Original and duplicate negatives only, no print. The 'Siyadoni Inscription,' edited by F. Kielhorn in 'Epigraphia Indica', vol. I, pp. 162-179. The above caption, based on Dr A. F�hrer's excavations, is false in two respects: 1) Kapilavastu, the ancient capital of the Sakyas, is now generally associated with the Indian town of Piprahwa, on the border with Nepal. Fuhrer's excavation took place near the village of Sagrawa, about 12 miles north of Piprahwa. 2) F�hrer's claim that he identified the stupa from a pre-Asokan inscription on an ornamental casket was revealed to be a forgery which cost him his job (see Notes in collection ntroduction and Annual Progress Report for 1898-99). The arch of the gateway supports a bell and piles of cannon balls. The area around the mosque is crowded with people. The area covered by this print can be seen on the right of print 2105. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1312). The area covered by this print can be seen on the right of print 2105. The Arjuna Ratha is in the foreground, the Draupadi Ratha beyond. The carved stone elephant is in the left foreground. The Arjuna Ratha is in the foreground, the Draupadi Ratha beyond. The carved stone elephant is in the left foreground. The attribution of the photograph to Cole is probably incorrect. The attribution to Cole is probably incorrect. See note at print 902. The attribution to Cole is probably incorrect. The attribution to Cole is probably incorrect. The back of the print has four different photographer's ink stamps naming: 'Wiele & Klein', 'Valeska Klein, late of Wiele & Klein', 'Valeska Klein' and 'Klein & Peyerl'. Although the original photograph was probably taken by Wiele & Klein at the turn of the century this is a later print by Klein & Peyerl. The Bagh Gumpha is visible in the left background. The cave in the foreground, and in fact the main subject of the photograph, is unidentified by Bloch but is a good view of the Sarpa Gumpha or Serpent Cave (a side view of which can be seen in print 423). Caddy also made a sketch of this cave from exactly the same viewpoint as the photograph which was included in his report of 3/15 May 1895, printed in the Bengal general proceedings. Caddy's reports, gathered together and bound up under the title of Report: reproduction of Asoka inscriptions, can be found at the IOL pressmark X1200. The bearded figure at the base of the shikara is probably Cousens. The bearded figure at the base of the shikara is probably Cousens. The Bibi-Ka-Maqbara The Bourne & Shepherd catalogue description is given in square brackets above]. The columns are from the earlier Hindu temple on the site, incorporated into the Quwwat-ul-Islam Mosque. The bridge consists of a single solid brick span, a design invented by Colonel Thomas de Havilland in 1799 to cross the watercourses surrounding Tipu Sultan's stronghold at Seringapatam. The building appears to be an old Mughal pavilion, probably used as a rest house by visitors to the site. Small faded print. The building contains some important wall paintings. Reproduced in Henry Cousens, ''Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cx (b), and described pp. 125-126. The building contains some important wall paintings. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cx (b), and described pp. 125-126. The building was restored after the Seige of Lucknow and was used as a Post Office before eventually being demolished. The caption contains a small sketched plan of the interior. The caption continues: 'Each filature contains 212 bassines; each reel turned by a boy and each bassine tended by a male reeler'. The caption incorrectly states that this is a view from the south, and also incorrectly attributes the photograph to H.H. Cole. General view of the stupa, with the north gateway at the left and scaffolding (see print 1342, which was probably taken at the same time) visible on the south side. Duplicate at Photo 1000 (1415). The caption in Tibet and Lhasa reads: 'This is the name of the Fort, which is surrounded by a small village. It was the first place in Tibet visited by the Mission, and where the negotiations commenced...These Jongs or Castles are scattered all over Tibet, and it is difficult to obtain any history of them; but they appear more like Feudal Castles, from which, in bygone days, their owners issued forth to raid their neighbours'. Duplicate at Photo 430/53 (4). The caption must be in error. This shows a close view of only one fa�ade; in any event, it would not be possible to see the south-east and north-west sides in one photograph. This caption may refer to the preceding print and should perhaps read 'south-east and south-west sides'. This would then make the view seen here the south-east front. The central column in the Diwan-i-Khas at Fatehpur Sikri. The central panel shows a royal figure being rowed in a boat. The centre of the print has been enclosed in a rectangle, within which a sky has been drawn in and figures touched-up in white and grey. The chhatra on the roof in the background belong to the Rajaram College. The Chowgan Gate, with temple shrine beyond. The colonnade is described and the statues listed in A. Cunningham, Report of a tour in the Central Provinces in 1873-74 and 1874-75 (A.S.I. vol. IX, Calcutta, 1879), pp. 62-71. Bloch's list describes the subject as the Gauri Samkara Temple, but but this more correctly refers to the central shrine within the colonnade. A note in Bloch's list, referring to prints 1228-1237 generally, reads: 'These statues represent various �aktis or matrs, and are of interest on account of their bearing ancient labels telling us of the exact meaning of each figure. The plates, however, do not enable me to identify all of them with the description given by Cunningham, whose readings of the inscriptions, moreover, are incorrect in almost every case.' Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1405). The courtyard of the Admiralty. A water fountain in the middle of the couryard. Two uniformed naval guards at the entrance and other naval personnel standing on the sides (print with overall spotting).[Albumen print, 243x307mm]. The date is on the back of the original negative.[Modern print from original waxed calotype negative, 460x373mm]. The Diwan-i-Khas is on the left, one of the Golden Pavilions in the centre and part of the Khas Mahal on the right. Probably a Shepherd & Robertson print although unnamed. No.391 is listed in the Bourne & Shepherd catalogue. The Dog River or Nahr-al-Kalb, is a few miles north of Beirut.[Gelatin silver print, 80x98mm]. The Duland Darwaza. The European family and ayah are standing outside the house. The figure on the right, a statue Vishnu lacking the head, is reproduced as a lithograph in A. Cunningham, 'Report of a tour in the Central Provinces and Lower Gangetic Doab in 1881-82' (A.S.I. vol. XVII, Calcutta, 1884), pl. xvii. The figure on the right, a statue Vishnu lacking the head, is reproduced as a lithograph in Alexander Cunningham, 'Report of a tour in the Central Provinces and Lower Gangetic Doab in 1881-82' (A.S.I. vol. XVII, Calcutta, 1884), pl. xvii. The first word missing in the original caption ('Cha...') probably indicates an incorrect identification of the building as the Chattar Manzil.Size: 482 (w) x 367 (h) mm. The Flora Fountain is in the foreground. The gate consists of two massive stone piers supporting a wooden tiered roof. Letterpress continues: 'There are twelve gates to the wall of the city, three on each side. The above gate is the centre one on the east side'. The gateway itself is not visible in this print.[Gelatin silver print, 140x203mm]. The general exterior view of the grounds and the garden of the school.[Albumen print, 297x376mm]. The hamlet of Udaivara is three miles south of the town of Udupi. General view of temple buildings, a plain whitewashed structure with tiled roof, with a viragal standing in front of the central doorway: '...an insignificant little village shrine standing in a double enclosure and facing the east and the road to Mangalore which runs immediately in front of the main entrance of the outer enclosure. Most of the building is obviously quite modern and architecturally is of no interest. The central shrine is built in the usual style peculiar to the West Coast with a wooden roof and gable front covered with modern tiles...' (Alexander Rea, Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1920-1921 (Madras, 1921), p. 23). The Hathi Pol is at the centre of the photograph. At the extreme left are the Waterworks, while to the rigth of the gate is the Sangin Burj. The wall of the Caravanserai follows the course of the road at the extreme right. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 56. The heavily corbelled central column supporting a small platform inside the Diwan-i-Khas. The hotel is identified on an exterior lamp. The house of Sir Herbert R. Stewart, College Principal? The image itself is largely concealed by the supporting members of the relic house.[Printing-out paper, 109x144mm]. The inscription reads: 'In memory of the Rev John Traill, Missionary in Jaipur 1872-1903, and of the Rev George Macalister, MA, DD, Missionary in Jaipur 1876-1911, whose long and loving service of the people of this city and state commended to high and low the Christian life and message. ""The memory of the righteous blessed""'. The interior of the temple is almost completely filled with masonry from the collapsed ceiling and roof. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1314). The Jahaz was used as a residence by George Thomas from 1796, having previously been a temple converted to a mosque. From north-east. The Jami Masjid in the Uparkot. The Jess Mandir is a pavilion with a small terrace situated on the roof of the Jai Mandir. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. The Kamal Maula is a small enclosure containing four tombs. The Kan-gyur is the Buddhist canon, 'The Translated Commandments'. The Kanishka casket was excavated from the Kanishka Stupa at Shahji-ki-Dehri, Peshawar. The King's boat is in the foreground. This is a copy of a Beato photograph (No 29 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. The Lahore Gate of the Red Fort. The Lal Darwaza near the jail was the northern entrance into Sher Shah's city (see No. 2184); this Lal Darwaza is probably the southern entrance, also known as Sher Shah's Gate. From south-west. The large college building is on the left. On the right is the equestrian statue of the Prince of Wales by Sir Edgar Boehm and behind it, the Sassoon Mechanic's Institute. The largest of the Jain rock-cut sculptures, surrounded by smaller images. The letterpress caption reads as follows: 'Built by His Highness Maharao Raja Umed Singhji who abdicated in favour of his son at the age of 42; and having considered Shikar Burj a sacred place built there a residence etc, where he passed the remainder of his life in divine worship and retirement. Samvat 1832. AD 1775'. Duplicate at Photo 430/28 (13). The letterpress description accompanying this print reads as follows: 'In this garden are cremated the chiefs and their families who die; and it contains many beautiful cenotaphs (Chuttrees) that have been erected in memory of the deceased chiefs. This garden was laid out by His Highness Maharao Raja Ratan Singhji, son of Bhojji, grandson of Maharaja Surjanji who (Surjanji) got Benares as a present from the King and who built Raj Mandir Palace etc, in Benares'. Duplicate of Photo 430/28 (5). The letterpress description accompanying this print reads as follows: 'The place 'Jamboo Dweep' on the bank of the river Chambal near Patan being one of sanctity and pilgimage from [a] religious point of view, this temple was built thereon by His Highness Maharao Raja Shatroo Salji in the Samvat 1698 (AD 1641); but he having been killed fighting in a battle near Dholepore the idol of God 'Kesho Raiji' was established in the temple by his son His Highness Maharao Raja Bhao Singhji with due ceremonies'. Duplicate at Photo 430/28 (7). The letterpress descriptions of Prints 36-38 are all on a single page between Prints 35 & 36. Looking along the hall towards Noble's statue of Prince Albert. Another copy of this print at Photo 2/2 (3). The Libraray contains an important collection of manuscripts. The lion capital of the Asoka Pillar in the Museum at Sarnath. The Lion Throne in the great audience hall of the Nandaw or Palace at Mandalay. The location is uncertain. The Lotus Mahal from the other side, showing the nine towers, with entrances in the form of multi-lobed arches. Probably a residence of the king or his military commander. Duplicate (later printing) of Photo 1000 (3135). Another copy at Photo 212/6 (37). The main buildings of the royal palace or Nandaw, with the gilded spire or shwepyathat. The centre of the palace was formerly known as the 'Centre of the Universe'. Second copy neg at B.12011. The main facade of the building, in Indo-Saracenic style. The main facade of the single storey brick-built hospital. The mandapa is a massive square building with a pyramidal roof rising in three tiers. The lower prt of the building is partially obscured overgrown remains in the foreground. The mandapa is roofless, but the shikhara is intact. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1275).Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 41. The meaning of the term chhata is unclear, but may refer to a house around a courtyard. From south-west. The meaning of the term chilla is unclear. In the glossary in the General index to the reports of the Archaeological Survey of India Voluumes I to XXIII, Calcutta 1887, the meaning is given as 'A rag hung on a tree as an offering', although this is inappropriate for the mosque/tomb-like building shown here. From south-east. The monastery buildings are immediately to the north of the moat. These buildings form the perimeter of the Kyauktawgyi Pagoda, and their general arrangement can best be seen in Photo 296/1 (70). The monastery buildings are immediately to the north of the moat. These buildings form the perimeter of the Kyauktawgyi Pagoda, and their general arrangement can best be seen in Photo 296/1 (70). The mosque is at the right, only partly visible, with the gateway dominating the photograph in the left foreground. Precise location unidentified: this is not the mosque identified as Mustafa Khan's Mosque in Henry Cousens, Bijapur and its architectural remains, (ASI, vol. XXXVII, Imperial series, Bombay, 1916), pl. lxxxii. Cousens also argues (p.96) that the ascription of the buildings to Mustafa Khan Ardistani is very dubious. Cousens' own photograph of Batula Khan's Mosque and gateway at Photo 1002 (1793-1794) corresponds to this view, and this is evidently the photograph identified by Biggs himself as 'Gateway and Musjeed of Bassoollah Khan', in his letter from Belgaum of 26 May 1855 (see IOR/F/4/2665/177.202). The mosque is seen rising over the rooftops of surrounding houses. Taken at the same time as Photo 52 (23).[Modern print from original waxed calotype negative, 472x376mm]. The Naqqar Khana viewed from inside the Diwan-i-Am. The Norbu Lingka was the walled park west of Lhasa in which the Dalai Lama had a summer palace. View looking towards covered gateway: 'Note the sentry box on each side of the gate and the two long prayer poles (tar-shing); near each sentry box are the incense vessels (zang-bum). Similar ones are placed at intervals along the road to Lhasa, and in all the long thin brown sticks of incense are burnt whenever the Dalai Lama goes along the road. These vessels are made of earth with bases of stone.' The northern entrance to Sher Shah's city. From north-west. The office is a small thatched building on stilts in the left foreground.[102x75mm]. The original caption describes this building as a temple, but its three domes and minarets are more like those of a mosque. The original caption identifies the location as '?Charnandi Hill, Mysore'. This is probably a reference to the temple on Chamundi Hill, Mysore. The original caption mistakenly identifies this view as the 'The Taj'. The original caption mistakenly reads: 'Elephanta, Bombay'. The original caption mistakenly reads: 'The Caves at Kalee, Bombay'. The original caption reads: 'Cavalry stables'. However, a view of the stables is at Print 17 and a duplicate of this print at Photo 430/30 (20) is captioned: 'Jail'. The original caption wrongly identifies this as the Rumi Darwaza. It is one of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 56 in the Lucknow and Cawnpore Series: 'Jumma Musjid Gate'. The original drawing is held in the Hart Collection. The original drawing is held in the Hart Collection. The original drawing is held in the Hart Collection. The original drawing is held in the Hart Collection. The other side of the column seen in print 2932. Duplicate (later printing) of Photo 1000 (2934). Another copy at Photo 212/1 (34). The outline of a Buddha figure has been drawn on the negative, framed by the temple doorway. Original glass negative, no print. The page opposite this print has a copy of the inscription on the fountain and a signed letter from Sir Swinton Jacob thanking subscribers to the fountain. The palace at Sirhatti, ten miles north-east of Lakshmeshwar. Photo 1000 (1038) is a slightly reduced and cropped copy of this print. The Pancha Rathas from the north-west. The view shows, from left to right: Draupadi Ratha, Arjuna Ratha, Bhima Ratha, Dharmaraja Ratha and Nakula Sahadeva Ratha. With the stone lion and elephant, carved in the round, in the foreground. Duplicate (later printing) of Photo 1000 (3086). Another copy at Photo 212/5 (32). The plaque is probably at the unidentified mosque seen in prints 17-19. The porch, at the east end of the mandapa, can be seen in the background. For an almost identical view, taken on the same occasion, see Photo 1000 (1905). The porch, at the east end of the mandapa, can be seen in the background. For an almost identical view, taken on the same occasion, see Photo 1000 (1905). The Porch of the Eight Goddesses, the eastern entrance to the Minakshi Sundareshvara Temple. 'The group over the doorway represents the marriage of Chokalingum (Shiva) and Minakshi'. Duplicate (later printing) of Photo 1000 (2943). Another copy at Photo 212/2 (3). The porticoed entrance from the garden. The portion of wall shown can be seen at the extreme right of print 1933. The portion of wall shown can be seen at the extreme right of print 1933. The print has been renumbered from 2089 to 2135. The print has been trimmed round the outline of the tomb. The print is credited to A. E. Caddy in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but the format (larger than most of Caddy's views) and the general resemblance to others of Cornish's photographs, make the latter the more likely photographer. In addition, the print is incorrectly listed as showing the Ananda Vasudeva Temple and this increases the likelihood that it has been confused with another image. The print is listed in H.Hering's catalogue of Beato photographs as No.12 in the section 'India - Delhi (Second Series)'. The description reads: 'Metcalfe House'. The print is listed in H.Hering's catalogue of Beato photographs as No.41 in the section 'India - Lucknow and Cawnpore (First Series)'. The description reads: 'The Mucha Bawn, or the old citadel of Lucknow, which was abandoned by Sir Henry Lawrence and partly blown up when he took up his position in the Residency'. The print is listed in H.Hering's catalogue of Beato photographs as No.47 in the section 'India - Delhi (Second Series)'. The description simply reads: 'Kootub'. The print is listed in H.Hering's catalogue of Beato photographs as No.56 in the section 'India - Lucknow and Cawnpore (First Series)'. The print is one of two listed in H. Hering's catalogue of Beato photographs as Nos.32 & 33 in the section India - Delhi (Second Series). The description for both reads: 'Jumna Musjid'. The print is partly obscured by an overlapping photograph. The published caption describes this lingam as 'twelve-faced' but the handwritten caption accompanying the print reads, 'four-faced'. The railing pillar is Elliot (Madras) no. 136, Knox (1992) no. 4. The roundel is Elliot (Madras) no. 47, Knox (1992) no. 18. The Raja, Gambhir Singh, died in 1834. There is a caption on the reverse, signed, 'J.J', which reads: 'Hindoo Temple near the village of Elloora. This temple is situated in a grove in a most picturesque spot not far from the village of Elloorah. The lower portion of it is m[?] of Red Granite and the pyramidial roof with brick and choonam. The design of the structure is chaste, it is surrounded by a wall of some height. It was erected by order of one Gopamal Ba[?], a mother-in-law of Holcar in fulfillment of a Vow'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints. ASIO 712 is a very similar view signed 'JJ' but attributed to Sykes. See also prints 15 and 90. There is a caption on the reverse, signed, 'J.J', which reads: 'The Tomb of Mulliqh Umbur at Rozah'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints including another view of this tomb at ASIO 713. There is a caption on the reverse, similar to those on other prints that are signed 'JJ', which reads: 'Pillars in the upper story[sic] of the Indur Sabba Cave, Elloorah'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints. See also prints 15, 90 and 92. There is a caption on the reverse which is illegible but which is similar to others in the album signed, 'J.J'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints including another view of this tomb at ASIO 713. A modern annotation suggests that this is Azam Shah's tomb. There is a caption on the reverse which is mostly illegible but which is signed, 'J.J'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints. See also prints 90 and 92. There is a caption on the reverse which is mostly illegible but which is signed, 'J.J'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints. Similar prints at nos 15 and 92. There is an illegible caption on the reverse, similar to those on other prints that are signed 'JJ'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints. See also Print 15. There is an illegible caption on the reverse, similar to those on other prints that are signed 'JJ'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints. There is a typed note adjacent to the print: 'Inscription on Plinth of Angel reads:- ""Sacred to the perpetual memory of a great company of Christian People chiefly Women & Children who near this spot were cruelly massacred by the followers of the rebel Nan Dhoodopunt of Bithoor and cast the dying with the dead into the well below on XVth day of July MDCCCLVII""'. The reverse of the print has three photographers ink stamps: 'Klein & Peyerl', 'Valeska Klein...late of Wiele & Klein' and 'Valeska Klein'. There were no Hindu temples at Fatehpur Sikri and this small square pavilion with elaborately carved brackets may in fact be the kiosk in the Pachisi Court known as the Astrologer's Seat. Small faded print. The Rock can be seen in the distance. The roof of the temple is overgrown with vegetation. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. The roof of the temple is overgrown with vegetation. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. The Round Pool Garden, with the dome of Viceroy's House beyond. The ruins and tower are within the walls of the old city of Firuzabad (Gur). Ancient Persis, fig. 1: 'Ruins of 'Takht-i-Nishin' and 'Munar', Firuzabad, seen from north-west.' Described pp. 118-120. (Ancient Persis Map, A3). The same house is seen in Print 48. This print has been pasted over the contemporary captions that identified the other Kodaikanal views in this series. The same shrine can be seen in Mss Eur F111/277 (70), there called the Rayan Paduka. The school was designed by J.H. Rattray and built by J.P. Parker in 1835 from funds bequeathed by General Claude Martin. Duplicate of Photo 179 (13). The sculptured pieces: Elliot (Madras) no. 24, Knox (1992) no.41 (right-hand portion only); Elliot (Madras) no. 25, Knox (1992) no.38; Elliot (Madras) no. 31, Knox (1992) no.43. The sculptures are high on the wall of the former cave temple. In this view an Indian figure holds a measuring rule against the rock face. The caption identifies the location as 'left of Satghara Cave.' These images are also reproduced in M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), p. 282, where the location is described as 'On the Khandagiri Hill, about 20 yards to the south of the Trisula or Hanuman Cave.' The Secretariat, completed in 1874. These pieces are reproduced as a lithograph (copied from print 1017) in A. Cunningham, Report for the year 1872-73 (A.S.I. vol. V, Calcutta, 1882), pl. xlviii.Duplicate (earlier print) at Photo 1000 (5919). These temples are more correctly located at Nagda, some 2 kilometres north of Eklingji. Burgess writes of a number of ruined temples on the western shore of the Bagela Talao at Eklingji, '...but the finest is a group of Vaishnava temples, known as Sasbahu, on a raised platform. On the east side, facing the lake, there has been a handsome approach, still indicated by four massive pillars. Fronting these is a pretty large temple, of the genuine Northern Chalukya style, with very massive columns and heavy torans. The porch (shown in Photograph XVI) and the lattice stone windows on each side of the mandap, are carved in a very elaborate and striking style of art...The place, however, has been long desecrated, and has been used as a dwelling until the roof is besmeared with smoke...One of the smaller shrines is shown on the right of the picture, and behind the larger, and to the north of it, is another, nearly as large, the mandap of which, except on the west, towards the shrine, is open all round, from the top of a low screen wall to the lintels which support the roof...' Photograph by Colin Murray for Bourne and Shepherd.For later views of the temples, see Photo 1009/11(2480-2486). The Shore Temple. The shrine at the left, with a portion of the temple tower at the right. The shrine at the left, with a portion of the temple tower at the right. The stone is balances above a door. From west. The stone stands in front of the entrance to the Tarakeshvara Temple, and can be seen in print 42.Photo 1000 (183) is a very severely cropped copy of this print. The structure in the foreground appears to be a tomb. The mosque referred to may be the distant building, largely obscured, beyond. The structure is largely obscured by trees. The Tal Katora garden was said to be a shikargarh of Muhammad Shah The temple complex consists of nine shrines. The temple complex consists of nine shrines. The temple east of the large temple and within the walls of the village. With a nandi in front of the entrance to the shrine. India Museum no. 861. Duplicate of Photo 1000 (1996) and (3368). The temple from another angle. The temple in the foreground has an elaborate carved wooden entrance way. Plate 24 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). The temple is almost entirely concealed by vegetation. The temple is composed of three shrines arranged around a central mandapa. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 54-55, describes this as a Shiva temple. George Michell, 'The Penguin guide to the monuments of India' (vol I, 1989) p. 351, states that the shrines are dedicated to Shiva, Vishnu and possibly Parvati. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1308). The temple is composed of three shrines arranged around a central mandapa. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 54-55, describes this as a Shiva temple. George Michell, 'The Penguin guide to the monuments of India' (vol I, 1989) p. 351, states that the shrines are dedicated to Shiva, Vishnu and possibly Parvati. The temple is situated in the south-east corner of the tuk. The title and photographers names 'W & K, Madras' are on the print. The tomb is on the left and the mosque on the right, with the entrance gateway in the centre. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xliv (b), described pp. 70-76. The tomb is on the left and the mosque on the right, with the entrance gateway in the centre. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xliv (b), described pp. 70-76. The tomb known as the Chaurasi Gumbaz, or 'Eighty-four Domes', and said to be the tomb of Lodi Shah Badshah. A. F�hrer, 'The Monumental Antiquities and Inscriptions in the North-Western Provinces and Oudh' (Allahabad, 1891), p. 113: 'The only remarkable building...is the Chaurasi Gumbaz. It is said to be the tomb of Lodi Shah Badshah...The Chaurasi Gumbaz is built of blocks of kankar laid in lime and mortar. All the ornamentation is in stucco with flowered borders and bands. Altogether the style corresponds very closely with that of the Lodi period, and the people may be right in attributing it to a Lodi prince. The building itself is only remarkable for its size, being 125 feet square outside and some 80 feet high, - seven narrow arched openings, divided by thick square piers....No one can explain why the tomb is called Chaurasi Gumbaz, or 'eighty-four domes.' There are only 40 intersecting spaces in the roof after deducting intersections in the middle, which are covered by the main dome. These, with the four corner turrets and the great dome, make only 45 possible domes, so that the name of Chaurasi Gumbaz is decidedly incorrect. The original name may have been Chalisi Gumbaz, or the 'forty domes', which would have been strictly correct, as well as in accordance with a favourable Hindu number.' The tomb stands next to the Bara Gumbad Mosque. The tower of St Thomas' Cathedral can be seen in the background. The P. & O. offices are beyond and to the right of Church Gate. Later print from an early (?) paper negative.[Silver printing-out paper, 232 x 179 mm]. The tower overlooks the Husainabad Tank. The town of Kyebogi listed as Kye-Bo-Gyi in Scott's 'Gazetteer of Upper Burma and the Shan States' (5 vols, Rangoon, 1900-01). Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 300, with caption note: 'A Karen place of sacrifice ... The rickety bamboo platform is the altar, with half a pig as an offering on it. The curved wooden slab in front is for offerings of flowers and fruit. When any member of a Red Karen family falls sick, a sacrifice is made to appease the wrath of a presumably aggrieved spirit. A fowl is killed and the bones are examined to find out the pleasure of the nat (the Burmese word for spirit). When this is settled the required animal is slaughtered and the head, ears, legs, and entrails are deposited in the nat-sin (shrine of the spirit).' The tuk (a fortified Jain enclosure) containing the Vallabhai Temple is in the foreground; the Chaumukh (or Adinatha) Temple dominates the skyline in the background right of centre. The tuk is a fortified enclosure containing Jain shrines. Another copy of this print at Photo 1000 (749).). The two sculptured slabs in the foreground are the pieces photographed in close-up in Photo 208 (1). Photo 1000 (979) is a severely cropped copy of this print. Photographed by Biggs in 1855, but not published until 1866.[Albumen print from a waxed paper negative]. The two temples stand outside the north-east corner of the Motisah Tuk. The unifinished tomb was built on an artificial island in a tank, 'approached by a stone bridge, formed of flat slabs resting on piers and supporting projecting bays. There are eleven openings in the bridge, each 33' feet broad by 500' [surely 50'?] long.' (Bengal list, pp. 370-371). The upper storeys of Akbar's Tomb, taken from on top of the podium. The Vellar River runs from the hills of South Arcot to the sea at Parangipettai (Porto Novo). Duplicate at ASIO 4602 where it's described as, 'Masulipatam Canal: Calingula for surplus water, Kurkipand'. The verandah has collapsed and disappeared (apart from a solitary fallen column) to reveal the inner wall of the porch and the central entrance doorway. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2083). The view gives a good illustration of the intricate mouldings along the base of the temple shikara (the area seen in this view can also be seen in the more general view at print 1905). This view also includes a window, whose lintel is surmounted by a relief sculpture of a shikara. The view gives a good illustration of the intricate mouldings along the base of the temple shikara (the area seen in this view can also be seen in the more general view at print 1905). This view also includes a window, whose lintel is surmounted by a relief sculpture of a shikara. The view is listed by Bloch (whose additional note makes it clear that he considered it incorrect) as 'Tomb of Ibrahim Lodi's Mother.' The view is taken from the top of the Tripolia Gate and looks towards the north end of the mardana. Signed in the negative O.S. Baudesson 1882. The view is taken from the top of the Tripolia Gate and looks towards the north end of the mardana. Signed in the negative O.S. Baudesson 1882. The view looks along the interior of the chaitya at the level of the sculptured panels above the columns, and also shows clearly the ribs of the ceiling. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2088). The view looks due north from the Khwabagh, with the ornamental pool, the Anup Talao, in the immediate foreground. Beyond, on the extreme left, is the Panch Mahal, with the Diwan-i-Khas in the background right of centre. To the left of the Diwan-i-Khas is the Ankh Michauli and Astrologer's Seat. At the extreme right a small part of the covered path leading to the Turkish Sultana's House can be seen. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 1, pl. 73. The view looks east across the courtyard, with the steps leading up to the Ganesh Pol just visible at the right. A small portion of the Diwan-i-Am can be seen at the left. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. The view looks towards the gopura, with Rajagiri Hill in the background. The view looks towards the open-sided mandapa of the temple. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 127: '...a little gem. The pillars of the hall are most minutely and delicately carved with a profusion of ornament [see prints 1918-1921]. The ceilings, parapet wall and shrine doorway are all equally well decorated...' The view looks towards the open-sided mandapa of the temple. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 127: '...a little gem. The pillars of the hall are most minutely and delicately carved with a profusion of ornament [see prints 1918-1921]. The ceilings, parapet wall and shrine doorway are all equally well decorated...' The view may well not be at Chittaurgarh at all (?possibly one of the houses on the bund at Ajmer). Signed in the negative O.S. Baudesson 1882. The view may well not be at Chittaurgarh at all (?possibly one of the houses on the bund at Ajmer). Signed in the negative O.S. Baudesson 1882. The view of the Feyziye School from the street.[Albumen print, 306x380mm]. The view of the narthex of Hagia Sophia. Print in poor condition, with overall spotting.[Albumen print, 315x378mm]. The view shows bands of sculpture on the right hand side of the doorway. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxviii. The view shows bands of sculpture on the right hand side of the doorway. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. lxviii. The view shows only the extreme corner of the left wing of the cave. The view shows the entrance fa�ade, the opening supported by two columns with lion bases, with an Indian figure in the foreground. The empty shrine (centre background) is flanked by guardian figures. The view shows the entrance fa�ade, the opening supported by two columns with lion bases, with an Indian figure in the foreground. The empty shrine (centre background) is flanked by guardian figures. The view shows the mandapa in the foreground. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 151, where Kundgol is described as being 20 miles south-east of Dharwad: '...A fine old temple...built without lime, of highly polished stones, which are dovetailed into one another. The carvings and images on the pillars are well cut, but have been injured by Muhammadans. It was repaired by a former chief in 1808-9, and dedicated to Shiva and Parvati.' The view shows the mandapa in the foreground. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 151, where Kundgol is described as being 20 miles south-east of Dharwad: '...A fine old temple...built without lime, of highly polished stones, which are dovetailed into one another. The carvings and images on the pillars are well cut, but have been injured by Muhammadans. It was repaired by a former chief in 1808-9, and dedicated to Shiva and Parvati.' The view shows two of the three porches, and the fa�ade between, of the mandapa of the main shrine, with part of the shikara visible in the background. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1279). The view shows two of the three porches, and the fa�ade between, of the mandapa of the main shrine, with part of the shikara visible in the background. The walls are decorated with hunting trophies. The well was erected in memory of Sir Thomas Munroe. The wife of Samuel Swinton Jacob sitting in a room. This appears to one of the series of views of scenes at Jhansi associated with the Mutiny which was offered for sale by 'G.M.J.' in The Englishman of 26 July 1859. The print corresponds in size and other details to the photograph described in that advertisement as Orrcha Gate - showing the places where the scaling ladders were placed. Second copy neg at B.3480. This building is seen lying north of the Dai-Ka-Mahal in Photo 187 (6), which thereby identifies it as the Dai-Ki-Chhoti Bahan-Ka-Mahal. This building is very similar in shape and shares certain architectural features to the Club seen in Print 50. It is possible that this view was taken before reconstruction work was undertaken. This entrance can also be seen in print 1616. Signed in the negative O.S. Baudesson 1882. This entrance can also be seen in print 1616. Signed in the negative O.S. Baudesson 1882. This entrance differs from the Mokalji Temple entrance seen in Print 1615, and is probably another unidentified temple. This is 'No 44' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). This is a copy of a Beato photograph (Listed in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 13 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). An original version is at Photo 27(2). See notes with Print 14. This is a copy of a Beato photograph (No 18 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 21 in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This print is incorrectly captioned as, 'Shaikan Darwaza (Machi Bawan)'. This is a copy of a Beato photograph (No 22 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). An original version of the print is at Photo 147/1(27). See notes with Print 14. This is a copy of a Beato photograph (No 25? of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 32? of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 33? in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 34? in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 35? in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 37? or 39? in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). Dark blotches on this print disguise figures seen in the original (Photo 147/1(35)). See notes with Print 14. This is a copy of a Beato photograph (No 37? or 39? in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 40? in the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 41 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. An original version is at Photo 25 (7). This print has been incorrectly captioned as, 'Daulie Square near Neill's Gate'. This is a copy of a Beato photograph (No 46? of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 48? of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 9? of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of number 12 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato: 'The Secundra Bagh, showing the breach and gateway'. See Introduction for notes on the negatives. This is a copy of number 13 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato: 'Interior of the Secundra Bagh after the slaughter of 2,000 rebels by the 93rd Highlanders and 4th Punjab Regt'. See Introduction for notes on the negatives. This is a copy of number 15 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. See Introduction for notes on the negatives. This is a copy of number 29 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. The print is numbered 'L29' in the negative. See Introduction for notes on the negatives. This is a copy of number 40 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. This is a copy of number 4 or 6 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. Brasyer's Sikhs or the Regiment of Ferozepore were under the command of Lieut Jeramiah Brasyer. This is a copy of number 9 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. See Introduction for notes on the negatives. This is a copy print after Photo 2/6 (4). Duplicate at Photo 430/38 (6). This is a near view of the Suraj Mandir, or Temple of the Sun. This is a view of the inside of the Baillie Guard Gate at the Residency and not Neill's Gate as described in the caption. Copy of a Beato photograph (No 38 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is not a mosque as captioned, but the tomb of Muhammad Ghaus. This is not a view of the Shah Najaf and Kadam Rasul mosque as the original caption suggests. This is a copy of number 8 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato: 'Battery near the Begum Kotie'. See Introduction for notes on the negatives. This is not the mosque but a tomb said to be a copy of the Taj Mahal. This is not the Residency Church as originally captioned. Copy of a photograph by Beato, retouched by Dannenberg. See notes with duplicate at Photo 254/1 (29). This is not the Rumi Darwaza as originally captioned. Copy of a photograph by Beato, retouched by Dannenberg. See notes with duplicate at Photo 254/1 (41). This is one of the China series of prints described in H. Hering's Photographic views and panoramas taken by Signor Beato. The actual subject is unclear. This is print No 48 listed in the China series of H. Hering's Photographic views and panoramas taken by Signor Beato: 'Pagoda up on the Hill - Summer Palace, Yuen-Ming-Yuen, Pekin, October 18th, 1860'. This is probably a copy of a Beato photograph (No 4? of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is probably a copy of a Beato photograph although it is not listed in H. Hering's Photographic views and Panoramas taken by Signor F. Beato. See notes with Print 14. A thermantidote, a machine used for dispensing cool air, is seen on the verandah. This is probably a copy of a Beato photograph that has been trimmed and touched up to alter its appearance. See notes with Print 14. This is probably Laksmana temple. See Print 105. This is probably print No 56 of the China series described in H. Hering's Photographic views and panoramas taken by Signor Beato as 'Arch in the Lama Temple near Pekin, October, 1860'. This is probably print No 57 of the China series described in H. Hering's Photographic views and panoramas taken by Signor Beato as 'Part of the entrance to the Lama Temple near Pekin in October, 1860'. This is temple No. 53 in Henry Cousens, The Chalukyan architecture of the Kanarese Districts ( ASI, new Imperial series, vol. XLII, Calcutta, 1926), pl. xxii. For another view of the same temple, see Photo 208 (17). This is the better view of the building. This may be a Nicholas & Co print as a similar view is described in the List of Nicholas and Co's photographic views (Madras 1896) as: 'The Church, [Coonoor]'. This photograph also appears as plate 22 in F.O. Oertel, Note on a Tour in Burma in March and April 1892 (Rangoon, 1893). Second copy neg at B.25639. This photograph also appears as plate 24 in F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893); it is there titled, 'Pagoda at Pagan, with Dodhi Temple to the left, intended to be a copy of the Budhagaya Temple'. See Photo 998. Second copy negative at B.25615. This photograph also appears in The National Geographic Magazine (Apr 1914, p. 382), with the following caption: 'A fine example of chorten, or shrine, at Gorina Monastery, surrounded by prayer flags. In front a venerable lama is telling his beads. The carving and decoration on this was good and the images well modeled'. Gorina is situated west of Paro. This photograph is a copy print made in London by Donald Macbeth. In the preface to her book, Gardens of the Great Mughals, London 1913, Constance Villiers-Stuart writes: 'My grateful acknowledgements are due to Her Highness the Maji Sahiba of Bharatpur for her help in the matter of Hindu garden symbolism, and for the photographs of her Palace of Deeg'. This photograph is a copy print made in London by Donald Macbeth. The address on the reverse is 'Mrs Villiers-Stuart, 1 Montagu Mans, Portman Squ'. It is reproduced as Plate XXXIV in her book, Gardens of the Great Mughals, London 1913. In the preface she writes: 'My grateful acknowledgements are due to Her Highness the Maji Sahiba of Bharatpur for her help in the matter of Hindu garden symbolism, and for the photographs of her Palace of Deeg'. This Bharatpur view may have been obtained from the same source. This photograph is a copy print made in London by Donald Macbeth after the original by Priyalall & Co, Agra (Duplicates are at Photo 37 (40) and Photo 430/27 (27). It is reproduced as Plate XXXVII in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. In the preface she writes: 'My grateful acknowledgements are due to Her Highness the Maji Sahiba of Bharatpur for her help in the matter of Hindu garden symbolism, and for the photographs of her Palace of Deeg'. This photograph is reproduced as Plate VII in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. This photograph is reproduced as Plate XI in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. This photograph is reproduced on page 168 of Curzon's Russia in Central Asia (1899). This photograph is reproduced on page 218 of Curzon's Russia in Central Asia (1899). This photograph is reproduced on page 224 of Curzon's Russia in Central Asia (1899). This photograph is reproduced opposite page 218 in Curzon's Russia in Central Asia (1899). This photograph shows clearly the disjunction between the moulding pattern of the older shrine and shikara and the later shrine on the left (see note at print 2163). Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1322). This photograph shows clearly the disjunction between the moulding pattern of the older shrine and shikara and the later shrine on the left (see note at print 2163). This print also appears as pl. 1 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466). This print also appears as pl. 2 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466). This print also appears as pl. 42 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar and caves in the Khandagiri and Udayagir Hills, Orissa, India, between 1898 and 1903 (London, 1903). This print appears as pl. 15 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466), captioned 'Muktesvar, showing southern portion of Jagamohan before repair.' This print appears as pl. 16 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466), captioned, 'Sidesvar, south, in disrepair.' This print appears as pl. 36 of M.H. Arnott's Report with photographs of the repairs executed to some of the principal temples at Bhubanesvar...between 1898 and 1903 (London, 1903, IOL pressmark X466), captioned, 'Sari Deul, west, in disrepair.' If the orientation of print 306 is correct, this caption would appear to be correct. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is also used as the title-page vignette to Meadows Taylor & James Fergusson, Architecture in Dharwar and Mysore (London, 1866).Salt print from a wet collodion negative., 160 x 209 mm. This print is listed in H.Hering's catalogue of Beato photographs as No.12 in the section 'India - Lucknow and Cawnpore (First Series)'. The description reads: 'The Secundra Bagh, showing the breach and gateway - First attack of Sir Colin Campbell in November, 1857'. This print is numbered 586A in the album but is not listed in the annual progress report of the NWP and Oudh Circle. Print No. 586 is listed as a duplicate of 585 which is probably why it is omitted from the album. This print is wrongly captioned. The photograph depicts the exterior of Hoshang Shah Gori's tomb. Duplicate at Photo 10/13 (62). This print is wrongly captioned. The view depicts the marble screen bearing the scales of justice which is in the room known as the Khwabagh in the Khas Mahal, or the royal private apartments. This print is wrongly captioned in the negative as: 'Amber Palace & Fort'. This print shows a detail of the top portion of a gateway. In James Fergusson's History of Indian and Eastern architecture, Vol 2, p462, a reproduction of the whole structure is described as: 'Monumental Gateway of Buddhist Monastery, Pekin'. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 12. This print was probably made from the original negative in the 1900s. See Collection Introduction for note on the photographer. This print was probably made from the original negative in the 1900s. See Collection Introduction for note on the photographer. This print was probably made from the original negative in the 1900s. See Collection Introduction for note on the photographer. This print was probably made from the original negative in the 1900s. See Collection Introduction for note on the photographer. This print was probably made from the original negative in the 1900s. See Collection Introduction for note on the photographer. This print was probably made from the original negative in the 1900s. See Collection Introduction for note on the photographer. This shows a close view of one face of the pillar also seen in print 13. This shows the slab before it suffered a large diagonal break, and before a good deal of damage from weathering (presumably in England) had taken place. Elliot (Madras) no. 127, Knox (1992) no. 76. This view, showing the main fa�ade of the building with the tank in front, is reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxiii (b). The building is described, pp. 89-95: '...the most unprepossesing-looking, yet most sacred, building in Bijapur...Though originally intended as a Dad Mahall or Hall of Justice, and for some short time used as such, it was eventually reserved for the safe custody of the relics of the Prophet...The general appearance of the building from the east suggests the idea of a great open box turned over on its side, the open, lidless side forming the front..' This view, showing the main fa�ade of the building with the tank in front, is reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxiii (b). The building is described, pp. 89-95: '...the most unprepossesing-looking, yet most sacred, building in Bijapur...Though originally intended as a Dad Mahall or Hall of Justice, and for some short time used as such, it was eventually reserved for the safe custody of the relics of the Prophet...The general appearance of the building from the east suggests the idea of a great open box turned over on its side, the open, lidless side forming the front..' This view includes three European children standing in the grounds with servants. They are named below as: 'Charlie, Winnie [and] Edith'. This view in fact shows the interior of the Diwan-i-Am. This view in fact shows the Khas Mahal. This view is reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxiv (a). This view is reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxiv (a). This view shows the Hall of the Scales of Justice in the Khas Mahal. This view shows the tomb when it was being used as a European residence. Verandahs, with sloping tiled roofs, have been added to the ground and first floors; these were later removed (see ASN (A) 1755 for a later view from the same angle). Small faded print. This view shows the verandah, called the Baithak, in the Khas Mahal. Three European men are standing at the side of the tank on the left. Three finely carved standing pillars. Reproduced as a lithograph in J.D. Beglar, Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), pl. xvii and described pp. 150-151: 'exquisitely handsome and curious pillars, some tastefully but sparingly sculptured, others sculptured profusely, but not less tastefully...the photographs will give an idea of these curious pillars, which are absolutely unique'. Three fragments. Three full-length standing statues of tirthankaras. Three Indian figures posed beside votive stupa at Bodh Gaya. Three Indian men in the centre of the photograph. Three-part panorama. Duplicate at Photo 10/13 (54). Three pillars, A (showing faces 1 and 3), B (faces 1 and 2) and one unidentified. The pillars are now in the Indian Museum, Calcutta. For a description, see Alexander Cunningham, 'Archaeological Survey of India. Report for the year 1871-72' (A.S.I. vol. III, Calcutta, 1873), pp. 151-156. Three pots. Three prints, dargah or Islamic burial shrine in the form of a square tower at Nagore, just north of Nagappattinam. Three prints, interior views of sitting room, landing and dining room. Three prints, views across the tank looking towards gopuras beyond. Three prints, views looking across the moat of the fort towards the gopura of the temple. Three sculptural pieces: damaged Buddha images. Three sculpture pieces, with background blocked out in negative. Three small snapshots.[Gelatin silver prints]. Three snapshots of architectural subjects: Panch Mahal, Shaikh Salim Chishti's Tomb.[Gelatin silver prints, 100x72mm]. Three snapshots of architectural subjects at Agra: the Diwan-i-Khas, Itimad-ud-Daulah's Tomb, the Taj Mahal.[Gelatin silver prints, 100x72mm]. Three-storey building with a large open ground in front. Three views: interior of the Diwan-i-Khas, Delhi (in poor condition), colonnade of Hindu arches in the Quwwat-ul-Islam Masjid, and a panoramic view of the Marble Rocks near Jabalpur. Three votive pagodas standing on open ground outside Tengchong. Throne taken from Delhi by Nadir Shah in 1739. The photographer's signature is on the print but difficult to decipher. Tiles with floral designs. Tinted postcard view. Tomb in foreground,with mosque, partially concealed, beyond. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp.97-98. Pl. lxxxii (b) is an almost identical view. Tomb in foreground,with mosque, partially concealed, beyond. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp.97-98. Pl. lxxxii (b) is an almost identical view. Tomb in the courtyard of the Jami Masjid. Tomb of Khusru's mother in the Khusru Bagh. Tomb of Sheikh Baha-ud-din Bhar. Tomb of Van Reede. Note on reverse of print reads: 'Presented to the Library of the India Office by Colonel Alister W. Jamieson with accompanying 6 photographs'. Tomb viewed from the gateway. Top of broken pillar in foreground with the famous Sarnath lion capital standing on the ground beyond. Duplicate at Photo 17/3 (41). Top of structure out of focus. General view, showing stupa under repair. Torso of sculpture, with background of negative blocked out. An unpublished image, according to T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). Duplicate (later printing) of Photo 1000 (2209). Tower of Gauri Somnath Temple. Trabeate ntrance to cave temple. Trinity Church from the Strand. Triple-arched gateway. Triple-headed scuplutre of Shiva on the wall of the Shiva Temple. Note European graffiti on the figures in this and the following print. A scribbled signature on the wall dated 19/4/70 supplies the earliest possible date for the photograph. Triple-shrined, pyramidal-roofed shiva temples on Hemakuta Hill to the south of Hampi Village. Duplicate (later printing) of Photo 1000 (3153). Another copy at Photo 212/7 (15). Tripurantaka (Shiva as destroyer of Tripura). Triumphal arch of cloth stretched over a wooden framework and bearing the legend 'Long live the Empress of India'. Duplicate at Photo 15/5 (4). Trivikrama with leg upraised, pacing out the universe in three massive strides. Gupte and Mahajan, 'Ajanta, Ellora and Aurangabad Caves' (Bombay, 1962, pl.lxxvii, top), identify this image as Tripurantaka (Shiva as destroyer of Tripura). Photo 1000/8 (889) is a platinum print from the same negative. Twelve prints, architectural views at Tranquebar (Tarangambadi), including the Danish Fort (Dansborg), the Town Gate, the Sea Wall, unidentified house with arcade and the S.P.G. Church. Twelve prints, showing views of buildings and structures within Gingee Fort, including the tank, eastern ramparts, Vellore and Pondicherry Gates, mosque, gymnasium and Kalyana Mahal. Twin-domed temple, with a round tower in front. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 56: '[The temples]...are fine handsome imposing buildings, but they are all more or less modern and of little interest.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1319). Twin-domed temple, with a round tower in front. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 56: '[The temples]...are fine handsome imposing buildings, but they are all more or less modern and of little interest.' Two 'chinthes' or guardian figures in front of a temple pagoda. Two altar-like plinths (sacred to Bali?). Two-and-a-half miles north-west of Gingee. 'There is a temple with inscriptions and a ruined fort and palace once occupied by a Gingee chief. Close to the village is a rock-cut temple of Isvara on the top of a hill. The cave is in the same style as those at Mamallapuram...and like others of the kind...has some more recent structural additions in front. The cave has two compartments...' View looking towards entrance to rock-cut temples, with stone pillar in foreground. Two balustrades with female figures tanding on grotesque creatures, and surmounted by couples on balcony above. Kushan period. Two carved images on one postcard. Two copy negatives, no print. Two damaged sculptural fragments. Two European men on the lawn in the foreground. Two exterior views of the Taj Mahal, one interior view showing the marble screen enclosing the cenotaph, and photographic copies of miniature paintings of Mumtaz Mahal and Shah Jahan.[Silver printing-out paper]. Two figures standing beside massive stone block with inscriptions on upper surface and carved frieze around sides. The original caption has been emended by Geraldine Mitton, who has crossed out the dimensions quoted above and written, 'weighing 25 tons, transported sixty miles in the 12th century to its present position.' The Gal Pota or Stone Book records Nissanka Malla's invasion of India and his relations with other states.[Albumen print, 280x214mm]. Two fountain slabs, one broken. Two fountain slabs, with decoration carved in shallow relief. Two fountain slabs carved in bas-relief. Two fragments. Two fragments. Two fragments of stupa frieze. Two fragments Two fragments with relief carving. Two gopuras in the Minakshi Sundareshvara Temple. Stereoscopic pair. Two headless standing figures. Two images on one postcard. Two inscribed terracotta tablets. Two miniature stupas. Two-part panorama. Copied in Negs B.11078 and B.11079. Two-part panorama. Duplicate of Photo 430/36 (31). Two-part panorama. The prints are listed in H.Hering's catalogue of Beato photographs as Nos.20 & 21 in the section 'India - Delhi (Second Series)'. The description reads: 'Main Breach, and Cashmere Gate and Bastion'.Exhibited National Portrait Gallery, London, The Raj: India and the British, 19 October 1990 - 17 March 1991. Two-part panorama. The prints are listed in H.Hering's catalogue of Beato photographs as Nos.24 & 25 in the section 'India - Delhi (Second Series)'. The description reads: 'Morec [sic] Bastion'. Two-part panoramic view, comprising prints 447a-b. 'Taking the two pictures together, the main temple is in the centre, a little to the right of it is the high, narrow building (Harnett likens it to one containing workmen's flats) on which large sacred pictures are exhibited to the public on fixed dates in each year. The wall round the enclosure, topped by earthenware chaityas of Indian design, can be seen; also the four large cho-tens, one towards each corner.' Two-part panoramic view, comprising prints 447a-b. See note at print 447a. Two photograpphs printed on one paper. Two pieces of (?)Buddhist stupa railing. Two pillars, A (showing face 1), and B (face 1). The pillars are now in the Indian Museum, Calcutta. For a description, see Alexander Cunningham, 'Archaeological Survey of India. Report for the year 1871-72' (A.S.I. vol. III, Calcutta, 1873), pp. 151-156. Two pillars, A (showing face 3), and unidentified. The pillars are now in the Indian Museum, Calcutta. For a description, see Alexander Cunningham,' Archaeological Survey of India. Report for the year 1871-72' (A.S.I. vol. III, Calcutta, 1873), pp. 151-156. Two pillars, A (side view of face 4), and B (face 3). The pillars are now in the Indian Museum, Calcutta. For a description, see Alexander Cunningham, 'Archaeological Survey of India. Report for the year 1871-72' (A.S.I. vol. III, Calcutta, 1873), pp. 151-156. Two pillars with female figures (from a stupa?). Two prints, showing square-sectioned columns with inscriptions. Two prints, unidentified ruins with arched arcades. Two prints showing details of relief carving from 'an architrave measuring about four feet long by nine inches deep, situated inside the north-east corner of the colonnade.' Two prints showing details of relief carving from 'a stone measuring about four feet long by seven inches deep...situated above one of the openings between the North Gateway and North-east Angle.' Two railing crossbar roundels: Elliot (Madras) no. 46, Knox (1992) no. 16, Elliot (Madras) no. 48, Knox (1992) no. 17; fragment of dome slab, Elliot (Madras) no. 69, Knox (1992) no.108; fragment with set of Buddhapada, Elliot (Madras) no. 55, Knox (1992) no. 122. Two sculptural fragments, one a seated Buddha in a niche beneath a stupa. Two sculpture fragments. Two sculpture pieces: a torso and part of a (?)column. Two sculpture pieces. Two sculptures of yakshini from a stupa. Two sections of sculptural detail, printed as one image. Two slabs carved in bas-relief. Two slabs carved with human figures. Two standing figures, one completely eroded, on the stupa site. Two statue bases. Two stone figures, photographed against a wall. Two stone fragments. Two stone fragments with relief carving. Two stone lions rearing over elephants on either side of the staircase. Two-storeyed verandahed building in European style. Two-storey house, the ground floor in brick, the upper storey in teak. Photograph enclosed in Agent's letter 506 of 22 April 1907. Two storey stone building in European style. Two storey stone house, function and location unidentified. Two storey stone house, with roof set in two levels. Two storey stone house, with trellised verandahs on both floors. Two storey wooden house with elaborately carved eaves and gables, in the grounds of the Yildiz Palace.[Albumen print, 372x304mm]. Two wooden spirit houses raised on piles. Typed note on reverse reads: 'From Cambay State. For the Festival of Empire and Imperial Exhibition and Pageant of London'. Uncaptioned print, looking towards a tower, surrounded by a dense wooden stockade. Uncaptioned print, showing a European figure standing amongst a large group of plain, square-sectioned pillars, with two guardstones in the foreground. Unfinished 12-pillared tomb adjacent to Mirza Beg's Tomb. Unfinished gopura at the eastern entrance to the Minakshi Sundareshvara Temple. Print surface slightly crazed from shrinkage of collodion on negative. Duplicate (later printing) of Photo 1000 (2915). Another copy at Photo 212/1 (16). Unfinished gopura at the eastern entrance to the Minakshi Sundareshvara Temple. Print surface slightly crazed from shrinkage of collodion on negative. Other copies of this print at Photo 212/1 (16) and Photo 1000 (2915). Unidentified. Unidentified arched gateway. Unidentified brick structure, after excavation. Unidentified building, in ruinous condition. Unidentified building. Second copy neg at B.25647. Unidentified building. Unidentified building. Unidentified building. Unidentified building being strangled by a fig tree. Notes in square brackets above are Geraldine Mitton's amendations to original caption.[Albumen print, signed 'Lawton' in the negative, 281x214mm]. Unidentified buildings. Original and duplicate negatives only, no print. Unidentified buildings at same location as print 47. Unidentified building under construction. Unidentified detached building. Unidentified domed tomb. Unidentified entrance archway. Unidentified exterior at Ellora. Unidentified gateway. Small faded print. Unidentified gateway at Ellichpur (modern Achalpur).. Unidentified grave, (?)at Bara Khamba. Unidentified group of buildings, with steps leading down to river in foreground. The complex contains five almost pagoda-like towers. Unidentified in Bloch's list. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxiv (b), and described p. 95: 'Beside the Athar Mahall, on the north, and apparently forming with it part of a group of buildings connected with one another, is a ruined building, called the Jahaz Mahall, from, it is said, its fancied resemblance to a ship...It is also said that, in this building, were the offices of the Admiralty...With bare walls and hollow gaping doorways and windows, from which all its old woodwork has been torn away, it now stands a wreck indeed...' Unidentified in Bloch's list. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lxxiv (b), and described p. 95: 'Beside the Athar Mahall, on the north, and apparently forming with it part of a group of buildings connected with one another, is a ruined building, called the Jahaz Mahall, from, it is said, its fancied resemblance to a ship...It is also said that, in this building, were the offices of the Admiralty...With bare walls and hollow gaping doorways and windows, from which all its old woodwork has been torn away, it now stands a wreck indeed...' Unidentified lighthouse on a headland. Unidentified monastery buildings. Print unsigned, but probably by Jackson. Unidentified mosque. Small faded print. Unidentified pagoda. Unidentified pagoda. Unidentified palace building. Unidentified photograph of a small enclosure on a hilltop containing a shrine-like structure. A man standing outside the enclosure is Tibetan in appearance. Unidentified portion of interior. Unidentified screen, possibly in the tomb seen in print 74. Unidentified single storey building. Unidentified station buildings. Unidentified structure in semi-ruinous state. Unidentified temple. Unidentified temple building. Unidentified temple gopura, with lat or pillar in foreground. Unidentified temple pagoda. Print unsigned, but probably by Jackson. Unidentified tomb. Unidentified tomb in Calcutta/Bengal? Unidentified tomb on the bank of a river. Unknown Indian location. Unknown location. Unnamed. Signed in the negative O.S. Baudesson 1882. Unnamed. Signed in the negative O.S. Baudesson 1882. Unnamed palace beside lake or tank. Signed in the negative O.S. Baudesson. Unnamed palace beside lake or tank. Signed in the negative O.S. Baudesson. Unnamed temple. See also Photo 1002 (1617 & 1626). Unnamed temple in right foreground, looking across river towards Kapaleshvara Temple in distance. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (666). Unpublished. Duplicate (later printing) of Photo 1000 (2180). Unpublished. Duplicate (later printing) of Photo 1000 (2184). Unsharp. Unsharp image. Section of ruined arcade. Unsharp print. Column carved with serpentine forms in the mandapa. Unsharp print. General view of buildings. Unsharp print. Unsharp print. View looking across the court towards the shrine. Unsharp print. View of the building now identified as a granary. Unsharp snapshot looking across river towards castle. Upper half of the great Jain image. Statue largely in shadow. Upper part of fa�ade. Upper portion of Baldeo Singh's chhatri. Duplicate at Photo 430/27 (55). Upper portion of print is out of focus. (Ancient Persis Map, A3). Upper portion of the Qutb Minar: this joins up with print 21B to form a vertical panorama of the tower.[Gelatin silver print, 239x292mm]. Vallabhai Temple and tuk in foreground, with southern summit beyond. Another copy of this print at Photo 1000 (755). Varaha Avatara of Vishnu. Varaha is the boar incarnation of Vishnu. Variant of print 2924a; identical apart from figure (presumably Lyon himself) standing in the left middleground. This image is not included in Photo 1000. Variant of print 2970a, taken from exactly the same viewpoint, but with light in a different position. This print is not included in Photo 1000. Variant of print 3071a, taken from the same viewpoint, but with a slight shift in the direction of the light. This print is not included in Photo 1000.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Variant of print 567a; almost identical. Various fragments. Various fragments. Various fragments. Various sculptures, including the two described in print 1328. Narasimha (Vishnu as man-lion to destroy Hiranyakashipu) at left. Verandah of the Sheesh Mahal, showing inlaid mirror-work on walls. Verandah of the unfinished late monastery. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2082). Very close view of doorway, showing carved panels of architraves. Very close view of moulding at ground level. Very dark print: unusable. Very distant view of temples at summit of limestone cliffs (too distant to see any significant detail). The caption possibly refers to print 1903, where the new stonework of the platform is plainly and jarringly evident. Very distant view of the Taj Mahal, framed by the archways of the northernmost pavilion of the Khas Mahal. Original and duplicate negatives only, no print. Very distant view of the Taj Mahal, framed in arch of the Fort at Agra. Original and duplicate negatives only, no print. Very faded and yellowing print. Duplicate at Photo 169/2 (6). Very faded print. Close view of the triple-headed Shiva sculpture on the south wall of the cave temple. India Museum no. 543. Duplicate of Photo 1000 (2486). Very faded print. From east. Very faded print. From north-east. Very faded print. From south. Very faded print. From south. Very faded print. From south-east. Very faded print. From south-east. Very faded print. Sculpture set into niche. Very faded print. Sculpture set into niche. Very faded print. Very faded print. Very faded print. View looking towards snactuary tower of temple. Very faded print showing figures at the base of the memorial.[Silver printing-out paper, with '13/6' (13 June?) written in the negative, 141x82mm]. Very faded view of outer walls of fort. Very oblique view of arched opening. Very poor quality, image largely indistinct. (I.A. Map 30, B2). Very poor quality, indistinct image. (I.A. Map 30, B2). Very poor quality image of interior of shrine. (I.A. Map 28, C3). Very poor quality photograph, showing a small domed building with a porch. North-West Provinces list, p.119: 'Bar...possesses close to the village on the embankment of a tank two, and on a neighbouring hillock four, Hindu brick maqarbas, slightly decorated, built at the latter end of the fifteenth century, of no particular interest'. Very poor quality photograph. Described in North-Western Provinces list, pp. 123-124; A. Cunningham, Reports of a tour in Bundelkhand ...1883-84...1884-85 (A.S.I. vol. XXI, Calcutta, 1885), pp. 171-175. Very poor quality photograph. Different to preceding panel. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality photograph. Very poor quality print, subject unidentified. Very poor quality print, with considerable fading along upper half. Very poor quality print: badly out of focus. Duplicate of print 161. Very poor quality print: out of focus. (Ancient Persis Map B2). Very poor quality print. From east. Very poor quality print. From north-east. Very poor quality print. From north-east. Very poor quality print. From south. Very poor quality print. From south-east. Very poor quality print. Vishnu on Garuda. Very richly carved pillar, lying on its side on the ground. Very similar to print 106. Very similar view at ASIO 1994. Very similar view to Print 15. Very small circular image, somewhat indistinct. Vew of minaret at south-east corner of tomb. Viceregal party including Col Sandbach and Mr Fanshawe standing under the arched gateway of the Quwwat-ul-Islam mosque with the Iron Pillar in the foreground. Vielooking towards a large, unidentified house.[Silver printing-out paper, 100x76mm]. View, framed by a cusped arch, looking towards mausoleum. The tomb itself can be seen through the arched entrance in the centre of the print. Tombs of Shah Alam Bahadur Shah I and Akbar II. The site can be identified by comparison with Mss Eur E267/189 (62). Duplicate of Photo 193 (15).Size: 501 (w) x 410 (h) mm, arched top. View, framed by a gateway, looking along the road leading up to the fort and showing the outer walls of the Man Mandir Palace. View, framed by arch, looking towards the hall, with Brock's statue of the young Queen Victoria in the centre.[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 238x286mm]. View, framed by archway, looking across the lake towards the Palaces.[Gelatin silver print, 210x293mm; another copy, 57x79mm]. View across an ornamental pool looking towards the main palace building. View across a tank looking towards temple towers beyond. View across Chennakeshava Temple courtyard towards shrines.[Albumen print, 197x140mm]. View across court (with graves in foreground) towards prayer hall. View across court towards colonnade. View across court towards prayer hall. View across court towards the iwan and flanking minarets. View across courtyard. View across courtyard in fort, with group posed for photographer. View across courtyard in the fort. View across courtyard looking towards screen of cusped arches. View across courtyard towards house. (Ancient Persis Map C2). View across courtyard towards mosque. View across courtyard towards temple entrance.[Gelatin silver print, 92x142mm]. View across drawing room, with a portrait of Queen Victoria at the far end, during the period of Lord Lytton's viceroyalty. This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, captioned in the negative and blind-stamped 'Bourne & Shepherd India', 290x213mm]. View across excavated site. View across fields towards buildings on summit of rock face. View across fields towards Potala. Faded print. View across field towards monastery buildings. View across garden from gateway at south. View across gardens towards the building.[Gelatin silver print, 177x100mm]. View across garden towards house.[Printing-out paper, 188x140mm]. View across garden towards mountains, with house at right. View across garden towards palace.[Albumen print]. View across garden towards Residency ruins (partially obscured by foreground).[115x88mm]. View across grounds, crowded with statuary, towards temple building.[Gelatin silver print, 270x192mm]. View across lake or tank towards the Viceroy's palace.[Albumen print, 215x164mm]. View across lawn towards house. Faded print.[113x81mm]. View across Little Zab River towards houses on the bank. View across moat towards fort walls and bastion. View across moat towards gateway. View across moat towards prison wall and bastion. View across open ground towards the perimeter wall of the school. View across ornamental pool towards verandah of palace. The Naya Makan is part of the Diwan Deorhi complex of buildings in European style, with a colonnade of Ionic columns along the verandah. View across overgrown gardens towards pavilions. View across pagoda platform towards the wooden shrine building. Plate 26 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). View across pool towards pavilion. View across rooftops looking towards temples and the hills beyond the city.[Printing-out paper, 282x207mm]. View across rooftops towards mountains in distance. View across rooftops towards the temple. View across rooftops towards the western corner of the Potala. View across rooftop towards monastery finials. View across roooftops towards palace. Duplicate of Photo 1008/9 (2514).[203x153mm]. View across tank towards buildings. View across tank towards cenotaph.[Albumen print]. View across tank towards domed balcony. View across tank towards palace.[Albumen print]. View across tank towards temples. View across tank towards the palace of the farther bank.[Gelatin silver print, 152x87mm]. View across the arcaded courtyard of the mosque towards the iwan. View across the city from a minaret of the Jami Masjid.[Lantern slide, 75X75 mm]. View across the court towards colonnade. 'This fa�ade is on the western end of the Quadrangle immediately in front of the Sessions Court. The columns are of stone covered with chunam and finely polished. They are 40 feet high and five feet in diameter. The arches are elaborately ornamented...' A rather burnt-out print in the highlights. Albumen print, 364 x 286 mm. View across the court towards the carved brick fa�ade with central triple-arched entrance. Bengal list, pp. 438-439. See also, Alexander Cunningham, 'Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882), pp. 54-55. View across the courtyard, looking towards the screen of cusped arches at the entrance to the Moti Masjid. Badly faded print. View across the fa�ade looking towards the side porch. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2057). View across the garden towards the ruined Residency. Two European women are seated in the shade of the memorial cross in the left foreground.[Gelatin silver print, 294x230mm]. View across the Golden Lily Tank in the Minakshi Sundareshvara Temple looking towards gopuras (different view from print 11). View across the Hazuri Bagh towards fort walls, with a pavilion in the centre of the garden.[Albumen print, 240x186mm]. View across the lake.[Printing-out paper, 282x202mm]. View across the lawn towards the porte-coch�re of the club. View across the line towards the station. View across the ornamental lake towards pavilions or summerhouses.[Gelatin silver print, 142x93mm]. View across the overflow towards an unidentified building.[Printing-out paper, 282x209mm]. View across the Pichola Lake looking towards the City Palace. View across the Potramarai Kulam (Golden Lily Tank) towards gopuras.[Gelatin silver print, hand-coloured, 121x176mm]. View across the room, with workers selecting type from trays. View across the tank, lined with chhatris at the water's edge.[Platinum prints, 288x239mm]. View across the tank, with the temple gopura rising beyond. Duplicate (later printing) of Photo 1000 (2977). Another copy at Photo 212/2 (37). View across the tanks towards a ghat and temple.[Gelatin silver print, 293x338mm]. View across the Teppakulam tank towards the central island on which stands a small towered temple, with pavilions at each corner. Duplicate (later printing) of Photo 1000 (2973). Another copy at Photo 212/2 (33). View across the town, with ridge in background. View across verandah, with gates on left.[Gelatin silver print, 118x164mm]. View after testoration, showing new marble flooring and sarcophagi. View along a canal lined with houses cantilevered out over the water.[Albumen print, signed 'Sach� 735' in the negative, 287x227mm]. View along a fa�ade on an upper storey. Stereoscopic pair. View along aisle towards votive stupa. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (642). View along alley towards arched entrance. View along an arcade of cusped arches. View along an arcade of stone columns. Albumen print, 342 x 275 mm. View along an arched corridor in the Tanisha Mahal. View along an avenue in the Foreign Concession, with European buildings on the left.[Albumen print, 290x216mm]. View along an enfilade of pointed stone arches. View along a paved pathway with steps towards the entrance. View along arched colonnade. View along a street in the Gompa.[Gelatin silver print, 92x141mm]. View along avenue towards gateway.[Albumen print, 240x158mm]. View along a verandah in the inner courtyard of the palace, showing the row of richly-carved wooden columns supporting the cantilevered floor above. View along colonnade.[Albumen print, 168x228mm]. View along colonnade.[Albumen print]. View along colonnade.[Gelatin silver print, 202x149mm]. View along colonnade.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 207x282mm]. View along colonnaded verandah.[Albumen print, 226x168mm]. View along colonnade in Cave XII (Tin Thal). View along colonnade of pillars of Hindu design. View along corridor of pointed arches. View along curving colonnade.[Gelatin silver print, 113x159mm]. View along drive towards Bailey's house. View along driveway towards Agency House. Only a small portion of the building itself is visible. View along dry stream bed. View along dry stream bed looking towards houses.. View along excavated trench.[Gelatin silver print, 201x150mm]. View along excavated trench. View along exterior wall of the zenana, showing a row of projecting window balconies with marble lattice-work openings. View along facade. Faded print. View along fa�ade. See note at print 5.[Woddburytype, 237x187mm]. View along fa�ade of building.[Albumen print, 379x313mm]. View along fa�ade of building.[Printing-out paper, 320x258mm]. View along fa�ade of upper storey, showing damaged parapet. View along formal pool towards pavilion. View along fort walls, with British military buildings within the perimeter.[?Matt collodion printing-out paper, 277x201mm]. View along garden towards main building. Snapshot. View along left colonnade from gallery.[Albumen print, 376x308mm]. View along main facade, with formal terrace garden in front.[Albumen print, with photographer's blindstamp in bottom right-hand corner, 273x210mm]. View along main fa�ade of building. View along main fa�ade of the house, showing new wings and porte-coch�re. View along moat, with fort walls and bastion at right.[Gelatin silver print, 236x282mm]. View along moat towards bridge and gate. View along nave towards altar. Probably by Mackay View along one of the palace walls, showing projecting balconied windows. View along pathway towards the Alamgir or Delhi Gate, the main (north) entrance to the fort. View along rear fa�ade. View along roadway, with ruins on either side. (I.A. Map 28, B3). View along side of building.[Printing-out paper, 321x257mm]. View along stone pier towards fort. View along the 670 foot long arcade running the length of the south side of the Ramalingeshvara Temple. Duplicate (later printing) of Photo 1000 (3012). Another copy at Photo 212/3 (33). View along the arcade, with the courtyard to the right. View along the city walls.[102x78mm]. View along the colonnade: 'The arcade represented in the view is ont he east end of the Quadrangle, the columns on the left rising directly from the ground to the height of 40 feet. The pillars on the right are 16 feet in height to the top of the capital, and rest upon a terrace elevated about 8 feet above the floor of the Quadrangle. Together with two other rows of similar pillars, they form part of an elevated cloister which entirely surrounds the Quadrangle, the roof of which is in parts terraced, and in other parts parts rises into lofty arched halls, the crowns of the arch being nearly 70 feet from the floor of the cloister.' Albumen print, 348 x 289 mm. View along the colonnade of Buddha images.[Albumen print, 150x106mm]. View along the colonnade of ornately carved columns from the earlier Hindu temple.[Platinum print, 275x226mm]. View along the enfilade of cusped arches inside the mosque.[Albumen print, 268x213mm]. View along the facade of the temple and along outer colonnade.[Albumen print, 227x164mm]. View along the fa�ade of the temple, which was destroyed by fire in 1892. View along the fa�ade showing bands of intricate carved decoration and mouldings, with pierced stone window openings above. Duplicate (later printing) of Photo 1000 (3107). Another copy at Photo 212/6 (9). View along the hall from the level of the frieze above the columns, looking towards the votive stupa and Buddha image.[Silver printing-out paper, 203x276mm]. View along the interior of the colonnade. In T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) this is inaccurately styled the 'propylon' of the mosque. Reproduced in photogravure in E. W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 9. View along the length of the outermost aisle. Duplicate (later printing) of Photo 1000 (2928). Another copy at Photo 212/1 (29). View along the narrow room, with readers seated at two rows of desks. View along the pier towards shipping in the harbour. View along the ramparts. View along the river bank towards the monastery buildings. View along the side of a substantial stone bridge. View along the street, with a number of figures walking along the roadway. View along the street towards the covered flights of steps leading into the Shwe Dagon Pagoda. Print unsigned, but probably by Jackson. View along the Theodosian Walls near the Adrianople Gate.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x201mm]. View along the verandah looking towards the Bodhisattva figure carved on the far wall. With painted ceiling. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2077).Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. View along the verandah or Baithak (sitting room) of the Khas Mahal. View along the walls.[99x77mm]. View along the walls showing two bastions. View along trench, looking towards excavated pillar bases.[Gelatin silver print, 205x152mm]. View along vaulted colonnade, showing repaired areas. View along wall, with collapsed bastion in foreground. Duplicate at Photo 1008/8 (1996).[203x152mm]. View along wall towards archway. View at Arpalli? View at roof level, looking towards temple towers. View at roof level, with the tiered tower of the temple in the foreground. View at the Shwe Dagon (?) Pagoda. View composed of two joined prints.[Gelatin silver print, 158x184mm]. View down a long corridor with colonnades and arches. View during clearance operations. From south. View during clearance operations. From south-west. View during clearance operations. From south-west. View during clearance operations. From west. View during excavation. View during excavations. View during restoration. From south-east. View during restoration work. From north. View during restoration work. From south. View during restoration work. From south-east. View during restoration work. From south-west. View during restoration work. From south-west. View during restoration work. Viewed across a tank. Viewed across a tank. Viewed from across the Sursagar. Viewed from the garden. Viewed from the inside. Viewed from the top of the gateway. Duplicate at Photo 614 (22). Viewed from the top of the gateway. View framed by an arched doorway. View from a balcony looking down onto the mosque. View from above, looking down onto and along the walls of the fort. View from above, looking down onto prison buildings. Note on reverse of print states that 'L-Cpl Wells was shot here for mutiny'. View from above, looking down onto rock-cut temple shikaras. View from above, looking down onto the rectangular shrine, similar in appearance to the temple identified as the Rataneshvara Temple in print 1595. View from above looking down into the well. View from above looking down onto the Dharmanatha Temple. View from above looking down onto the gateway of masonry blocks. View from above looking down onto the top of the temple shikara. View from a courtyard looking towards the tiled arcade surrounding it.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View from a courtyard of the building, constructed from four tapering octagonal stories.[77x106mm]. View from a courtyard of the Chandra Mahal. Stereoscopic pair. View from across the river. View from a different angle, a poorer quality print than print 2227. View from a different angle, a poorer quality print than print 2227. View from a different angle, with the sanctuary tower in the foreground. View from adjoining roof looking down onto the small triple-domed mosque. Most of the screen of the east wall is obscured by a corrugated-iron shade running along its length. View from a ghat looking up towards a temple. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 4. Another copy at Photo 364/3(1). View from a height looking down onto and along the fort wall and moat. View from a low elevation looking obliquely upwards towards the centre of the eastern fa�ade, showing entrance and surrounding sculpture. View from altar looking towards doors. Print in poorish condition, with overall spotting.[Albumen print, 382x307mm]. View from a minaret looking over the mosque's domes to the city beyond. View from an adjoining building looking across the garden and down onto the Kishan Bhavan pavilion at the southern edge of the palace complex. Duplicate at Photo 430/27 (22). View from an elavated position, looking across the temple complex. View from an elavated position, looking across the temple complex. View from an elevated position, looking down onto the east fa�ade. View from an elevated position, looking down onto the mahamandapa, with the main shrine at the left and the stonbe car at the right. View from an elevated position, looking down onto the ruined mosque. View from an elevated position, looking down onto the step-well. View from an elevated position, looking down onto the tank, with the bathing platform in the centre. The dome of Hasan Khan Suri's Tomb can be seen in the background. View from an elevated position, looking over the perimeter wall and into the court and towards the east fa�ade of the mosque. View from an elevated position, probably the roof of the mosque, looking towards Shah Alam's Tomb, partially obscured by a tree in the foreground. View from an elevated position looking across the temple complex. View from an elevated position looking west along the path leading towards the entrance to the temple. With the west gopura in the background. This area within the complex can be seen in the foreground of print 1268D. View from an elevated position on the Qutb Minar looking east towards the unfinished Alai Minar.[Gelatin silver print, 238x288mm]. View from an inner courtyard of the Umaid Bhavan Palace under construction, with scaffolding on some of the towers. Built between 1929 and 1944 to the designs of Henry Lanchester. Original and duplicate negatives only, no print. View from an opposite minaret. View from another angle of the dalan seen in print 373D. View from an upper storey of an adjoining structure. View from an upper storey of an adjoining structure. View from a point to the left of print 10, looking towards the gopura with the pot finial and with the nandi pavilion, at the extreme right. Albumen print, 373 x 242 mm. View from a side aisle looking towards the circular domed hall, with Sir Thomas Brock's statue of the young Queen Victoria at its centre.[Platinum print.] View from a similar vantage point to print 206, but taken a few years later. The trees in the foreground have grown considerably in the interim. Dated 1903 in pencil on the reverse.[Silver printing-out paper, 280x216mm]. View from below, looking up hillside towards ruined mosque. View from below, looking up slope towards rock-cut temples. View from below, looking up towards fort. View from below, looking up towards the dzong. View from below, looking up towards the fort on the skyline. View from below, looking up towards the palace. View from below, looking up towards the temple. View from below. View from below looking up towards a group of the Sagarha Temples. View from below looking up towards the unfinished Jain temple of Vattuvan Kovil, with its pyramidal roof topped by an octagonal dome. Duplicate (later printing) of Photo 1000 (2990). Another copy at Photo 212/3 (10). View from below looking up towards the walls of the Potala Palace. View from below of the gothic memorial cross. View from below of the palace ruins. View from below of the Rajput fort destroyed in the earthquake of 1905. View from below of the southern facade of the Potala Palace.[Photogravure, 149x114mm]. View from beneath dome looking towards side gallery. Print in poorish condition, with overall spotting.[Albumen print, 308x374mm]. View from bottom of hill looking up towards mound. View from cave entrance, with galleries at right. View from Chakpori Hill, looking north-east towards the Potala Palace. The Potala Sho is the enclosed quarter at the base of the Potala hill. View from Chakpori Hill looking north-east towards the Potala Palace and the Sho (the enclosed quarter at its foot). Cloud-covered hills in the background. Same view as prints 72a-b. View from church porch looking towards the Parsonage. View from colonnaded porch looking towards entrance and interior.[Printing-out paper, 293x241mm]. View from corner of court, looking towards the triple-arched screen of the mosque, showing clearly the dilapidated condition of the tile work of the fa�ade. View from court.[Lantern slide, 75X75 mm]. View from court. View from court. View from court looking towards interior.[Albumen print, 83x96mm]. View from court looking towards prayer hall. View from court looking towards screen of arches and interior. View from court of screen of arches, with finely-carved parapet above. View from courtyard, showing screen of arches. View from courtyard. View from courtyard looking towards shrine. View from courtyard looking towards staircase, with guards on duty at base. Print in poorish condition, with overall spotting.[Albumen print, 311x377mm]. View from courtyard looking towards teak buildings. View from courtyard looking towards the entrance.[Photogravure, 149x113mm]. View from courtyard looking towards wall and gateway. View from courtyard of part of the fort. View from directly below the fortress, looking up the sheer rock face towards the dzong. Photograph taken during the abortive 1903 mission. View from driveway, looking towards the bungalow, with a carriage drawn up in front of the porte-cochere.[Albumen print, 218x183mm]. View from driveway looking towards colonnaded entrance of the Residency. View from driveway looking towards the house. View from driveway of main court building, also seen in prints 1 and 3. View from east end of tank, looking down onto flights of steps. With dalans on the south bank of the tank in the background. View from entrance, looking across garden towards monument. Somewhat faded.[Gelatin silver print, 57x79mm]. View from entrance, with chinthes in foreground. Second copy neg at B.25642. View from entrance gateway, the building itself largely obscured by trees. View from entrance gateway looking towards temple.[Albumen print, 147x101mm]. View from entrance looking towards picture screens, with archway leading to the Old Calcutta Room at the right.[Gelatin silver print, 151x104mm]. View from entrance looking towards shrine.[Gelatin silver print, 57x79mm]. View from entrance looking towards the prayer niche inside the mosque. (Ancient Persis Map B1). View from foreshore, looking up towards fort wall, bastion and gateway. View from fort ramparts. Poor quality print. View from gallery, looking down onto the mihrab (prayer niche) and minbar (pulpit), the latter partly concealed by pillar in foreground.[Albumen print, 382x305mm]. View from gallery.[Albumen print, 385x310mm]. View from gallery looking along workshop.[Albumen print, 378x304mm]. View from gallery looking down onto entrance.[Albumen print, 383x308mm]. View from garden, the building partly hidden by trees.[Albumen print, 177x105mm]. View from garden, with group posed in driveway. The figure on the left is presumably the Tsarong Shap�. View from garden.[105x79mm]. View from garden. Poorish quality. View from garden. View from garden. View from garden. View from garden. View from garden looking towards a substantial house with porte-coch�re and corner towers. The right side of the house has collapsed.[Silver printing-out paper, 153x105mm]. View from garden looking towards consulate buildings.[98x74mm]. View from garden looking towards porte-coch�re, with servants posed on the drive. This is presumably the Compton's house at Sholapur (mod. Solapur). View from garden looking towards the front of a substantial two-storey stone house. View from garden looking towards the house (partly obscured by trees.[Sepia toned print, 134x77mm]. View from garden looking towards verandah. View from garden of an unidentified brick building, possibly the Peshawar Club.[Printing-out paper, 280x206mm]. View from garden of unidentified bungalow.[?Silver printing-out paper, 101x74mm]. View from garden showing verandahs. Poor quality print. View from gateway, looking along the garden towards the tomb.[Albumen print, 193x163mm]. View from gateway looking along the central avenue towards the Taj. View from gateway looking towards kitchen block.[Printing-out paper, 320x256mm]. View from ghat looking towards temple. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 4. Another copy at Photo 364/1(9). View from ground level looking down into exposed passage. View from ground level of right hand colonnade of nave and gallery. Print in poor condition, with overall spotting.[Albumen print, 307x382mm]. View from hillside, looking down onto a Kota settlement of thatched houses.[Albumen print]. View from hillside, looking down onto chorten or stupa. View from hillside, looking down onto garden, with house at right. View from hillside, looking down onto temple, with the lake beyond. 'It faces the east and consists of a shrine, the remains of a pavilion in front of it, and a kunda [tank] alongside. The shrine, which has lost its mandapa and sikhara, has plain undecorated walls, but the shrine door-frame is particularly well carved. The pavilion in front is supported upon four well-carved pillars which look like earlier work than anything else at the lake....' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 13). For an earlier view from a similar viewpoint, taken by Robert Gill in 1871, see Photo 1000 (1974). View from hillside above, looking down onto monastery buildings. View from hillside above, looking down onto roe of monks' cells. View from hillside above looking down onto the Kuttalanatha Temple. View from hillside looking down onto monastery and adjoining park: 'The houses of the author and his staff were in their park (lingka). Two of the recent heads of this monastery have been regents of Tibet.' View from hillside looking down onto Residency. Small snapshot. View from hillside looking down onto the rock-cut shikaras. View from hillside overlooking the cave temple complex. Reproduced in collotype in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), pl.i (frontis). Photo 1000/8 (871) is a platinum print from the same negative. View from in front of the Town Hall looking along the southern fa�ade of the Town Hall, with Westmacott's statue of Lord William Bentincke in the foreground. View from inner courtyard looking towards verandah and interior. View from inside, looking down onto the gateway. View from inside the fort, looking towards the battlements. Another copy at Photo 98 (42). View from inside the fort looking back towards the entrance seen in the preceding print. Breached inner wall in the foreground. Duplicate at Photo 430/27 (5). View from inside the garden, showing inlaid mosaic work. View from inside the main cave, looking south-east towards the small shrine, showing the stone lions flanking the entrance. A European figure is seated on the parapet across the entrance. India Museum no. 519(b). Duplicate of Photo 1000 (2419). View from inside the mandapa, looking towards the doorway of the shrine. India Museum no. 863. Duplicate of Photo 1000 (1998) and (3370). View from inside the pavilion, showing decoration of arch soffits. View from inside the perimeter wall, looking across the Taj Bauri Tank towards the archway seen in print 1871. The apartments on either side of the entrance were used for thre temporary accommodation of travellers. View from inside the perimeter wall, looking across the Taj Bauri Tank towards the archway seen in print 1871. The apartments on either side of the entrance were used for thre temporary accommodation of travellers. View from interior looking towards open courtyard. Identified in Bloch's list as showing pillars in the Pudu Mandapa, but this appears to be incorrect. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View from interior looking towards open courtyard. Identified in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) as showing pillars in the Pudu Mandapa, but this appears to be incorrect. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. View from just left of centre looking towards the entrance doorway. The fa�ade of the verandah has collapsed. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2100). View from left, looking towards gateway and enclosure wall. Albumen print duplicate at Photo 1000 (1249).[Carbon print ('Autotype'), 261x193mm]. View from left end looking along the verandah of the vihara. Note painted ceiling. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (466). View from left of right half of entrance fa�ade and porch. 'Recd. from Photo. Branch 31/12/74. Reproduced in collotype in Archaeological Survey of Western India, IV, pl. ii. Duplicate of Photo 1000 (462). View from Mandalay Hill, looking down onto the Kuthodaw Pagoda, with the Atumashi Kyaung or 'Incomparable Pagoda' beyond. The latter building was detroyed by fire in 1892. Print unsigned, but probably by Felice Beato. View from mandapa, looking towards doorway, in panels above which are images of Surya, Brahma, Vishnu, Shiva and Soma or Chandra. View from neighbouring hillside, looking down onto stupa. View from north-east, looking across court. View from north-east, looking towards east fa�ade. View from of columns of nave and right hand gallery. Print in poor condition, with overall spotting.[Albumen print, 307x372mm]. View from one of the Ramgarhiya Minars, looking across the tank known as the Amrita Sarovar (Pool of Nectar), with the Golden Temple (Hari Mandir) in the centre. View from one side looking towards the Baillie Guard Gate, with the Banqueting Hall beyond. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 301x239mm]. View from outside, looking up towards the gateway. View from outside looking towards the steep flight of steps up to the entrance, with the mandapa and shikara of the temple visible beyond. Signed in the negative O.S. Baudesson 1882. View from outside looking towards the steep flight of steps up to the entrance, with the mandapa and shikara of the temple visible beyond. Signed in the negative O.S. Baudesson 1882. View from outside of the Buland Darwaza (Great Gate) entrance to the Jami Masjid.[Albumen print]. View from outside perimeter wall. View from outside perimeter wall. View from outside the east gate, looking towards the domes of the mosque. View from outside the perimeter wall, which largely obscures the mosque. View from outside the perimeter wall, with the entrance gateway at the extreme right, and minarets and prayer hall at the left. The outer wall contains a colonnade of pointed arches. View from outside the temple complex, looking towards the perimeter wall and the temple buildings beyond. A faded, poor quality photograph. View from outside the temple complex, looking towards the perimeter wall and the temple buildings beyond. A faded, poor quality photograph. View from outside the temple wall looking towards the gopura.Photo 1000 (1075) is a reduced and cropped copy of this print. View from outside the walls of the mosque.[Printing-out paper, 153x104mm]. View from pool in garden looking towards the house.[Silver printing-out paper, 135x77mm]. View from Rajagiri Hill looking down onto the Kalyana Mahal. View from rear. View from right and above, looking down onto fa�ade. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (501). View from right of carved exterior, with horseshoe-shaped window. Faded print. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (491). View from riverside looking towards the Mansarvar building. 'Above the Ghat is a place called Mansarovar which consists of a deep tank and a large collection of shrines all around it.'[Albumen print, 277x216mm]. View from road, looking towards the gateway of the Dilkusha Palace, with the ruins of the building (largely concealed by trees) visible beyond.[Gelatin silver print, 278x227mm]. View from road looking towards temple gopura.[Gelatin silver print, 98x78 mm]. View from road looking towards the fort. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 289, there captioned, 'Gakuch Fort (from the Polo Ground).' [Albumen print, 279x213mm]. View from roadway leading up to the palace, looking out over surrounding countryside towards mountains.[Gelatin silver print, 141x92mm]. View from roadway looking down onto the temple. View from roadway looking through gateway towards entrance. Duplicate of Photo 1008/10 (10G). Other copies in this album at prints 56 and 58.[203x152mm]. View from roadway looking towards the entrance to a Hindu temple.[Gelatin silver print, 130x79mm]. View from roof, looking across courtyard towards temple. View from roof level, looking across courtyard towards mandapa. View from roof level, looking across courtyard towards shrine. View from roof level looking towards the dome of the temple sanctuary. View from roof level looking towards the vimana tower. View from roof of mosque looking down onto excavated area. View from south-east, looking across court. View from south-east, photographed from the Maidan, with the equestrian statue of Lord Hardinge in the right foreground. Dated 1872 in Lord Curzon's hand.[Silver printing-out paper, 241x93mm]. View from south-east. View from south-east. View from south-east corner of court looking towards east fa�ade, with ablution tank in foreground. To the right of the ablution is a step-well. '...A solidly built mosque with far more architectural pretensions than either that at Veraval or Pattan. Though built in great part of old Hindu material, a good deal of new work has been added to produce a building much in the style of the Ahmadabad mosques though much plainer.' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 15). View from south-west. View from square looking towards mosque on hillside.[Albumen print, 309x376mm]. View from steps looking down onto moonstone.[Gelatin silver print, 115x88mm]. View from street level looking towards the city gate. View from street looking towards buildings.[Albumen print, 374x308mm]. View from street of arched entrance passage to the haveli. View from street of arched passageway. View from Study Court, with group of cadets posed in centre of print. Only a small part of No. 4 Barrack and dining hall are visible in the photograph. View from tank looking across court towards the iwan of the mosque, with the modern pulpit in fron of the entrance. View from tank looking towards pavilion. View from tank looking up the ghat. Printed from a broken glass plate. View from terrace looking toward the Chandra Mahal. Photographed by Colin Murray for Bourne and Shepherd. This view is also found as plate 28 of James Burgess, 'Photographs of Architecture and Scenery in Gujarat and Rajputana' (Bourne and Shepherd, 1874). View from the banks of the Jumna. Small print. View from the battlements of Fort Asmai, on the summit of the Asmai Heights west of the city, looking south-west along the valley of the Kabul River. Another copy at Photo 98 (44). View from the battlements of the Fortress of Europe at Rumeli Hisari, looking down onto the Bosphorus.[Albumen print, 324x260mm]. View from the beach looking south towards the ramparts of Fort St George, with the spire of St Mary's Church on the skyline. View from the Beyazit Tower looking south-east over the Grand Bazaar, with the Nuruosmaniye Mosque beyond (centre of print), the Sultan Ahmet I Mosque (Blue Mosque) in the right background, and Aya Sofya (Haghia Sophia) in the left background.[Albumen print, 381x308mm]. View from the Beyazit Tower looking towards the Suleymaniye Mosque, with the Golden Horn in the background. With the University buildings in the foreground.[Albumen print, 378x308mm]. View from the Bosphorus, looking towards the Nusretiye Mosque and other waterfront buildings.[Albumen print, 377x300mm]. View from the Bosphorus, looking towards waterfront houses and the Fortress of Europe.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x198mm]. View from the Bosphorus looking along the waterfront fa�ade of the Dolmabah�e Palace.[Albumen print, 260x194mm]. View from the Bosphorus looking north along the waterfront, with the Dolmabah�e Cami (Mosque) in the foreground and the Palace beyond.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View from the Bosphorus looking towards a substantial villa or yali overlooking the river on the Asian side of the Upper Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View from the Bosphorus looking towards the Dolmabah�e Castle.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. View from the Bosphorus looking towards the Fortress of Europe, with a Muslim cemetery on the waterfront in the foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x200mm]. View from the Bosphorus looking towards the palace buildings on the water's edge.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x203mm]. View from the bottom of the hill looking up towards the fort. View from the cave looking outwards, with the fallen pillar at the right. View from the central avenue looking back towards the entrance gateway. View from the centre of the courtyard, looking towards the iwan (entrance arch) and the main body of the building. View from the chowgan or maidan looking towards the Rang Mahal Palace. View from the court looking towards the central portion of the screen of the east fa�ade of the mosque. The building is ornately decorated with coloured tile work View from the court looking towards the entrance to the Treasury, with two sentries in the foreground. The doorway is flanked by glass-fronted cases containing displays of swords and firearms.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x199mm]. View from the court of the open mandapa, showing the carved columns, heavily overhanging dripstones, and sculptured parapet. The stone temple car is at the right. View from the courtyard looking towards the arched doorway. View from the courtyard looking towards the prayer hall.[Woodburytype, 172x143mm]. View from the courtyard looking towards the screen of cusped arches. View from the courtyard of the Jami Masjid. View from the courtyard of the screen of arches running along the side of the Moti Masjid, with the three domes above the building. View from the courtyard of the wing containing the bathroom. This is at the rear of the building, and can also be seen in the general view at print 534D (at left). View from the Diwan-i-Khas looking south-west, with the Panch Mahal on the left and with the gateway of the Jami Masjid visible on the skyline in the distance. A faded print.[Developing-out paper, 294x243mm]. View from the Diwan-i-Khas looking towards the Moti Masjid, the bulk of the building apart from the domes hidden by the exterior wall.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 292x211mm]. View from the doorway looking towards the central block of carved images. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 274: '...a small temple containing a sahasrakuta, i.e. a central pedestal or block of marble having 1,008 little images of jinas carved upon its sides.' View from the drive (the building partially obscured by trees) of Snowdon, the Commander-in-Chief's official residence.[Gelatin silver print, 288x233mm]. View from the drive looking towards the house. A faded and yellowed print. View from the drive of a substantial brick-built bungalow with porte-coch�re. View from the drive of the home of Sophia and Richard Dane, grandparents of Bunting Dane. With a note on the reverse from Sophia Dane to Bunting. View from the driveway, with servants gathered under the porte-coch�re. View from the driveway looking towards the Ranken's house. Colonel Ranken stands beside the pony trap in front of the building, with his wife Ada Mary and their young daughter Lilian Patricia (b. 1900) seated in it.[Silver printing-out paper, 278x212mm]. View from the east, looking along the Jumna river bank towards the Taj, with the mosque beyond. A domed pavilion stands among ruined buildings in the left foreground.[Albumen print, oval image, 195x125mm]. View from the east, looking along the Jumna riverbank to wards the Taj.[Albumen print, 278x211mm]. View from the east, looking along the riverbank towards the Taj Mahal. View from the east, looking along the south fa�ade of Shah Alam's Tomb (partially obscured by trees), towards the south minaret of the mosque. View from the east, River Jumna in foreground. View from the east (from a position between the Arjuna and Bhima rathas) of the Nakula Sahadeva ratha, with the stone elephant, carved in the round, in the foreground. View from the east end of the small tank. View from the east end of the small tank. View from the east looking across the court towards the Jami Masjid.[Albumen print]. View from the east looking towards the entrance to the Thuparama Vihara at Polonnaruwa, here seen in ruinous condition before restoration. The figure standing beside the building has been tentatively identified as Louis Frederick Liesching, Assistant Government Agent.[Albumen print, 281x214mm]. View from the east looking towards the Iron Pillar, framed in the background by the archway of the mosque.[(Silver printing-out paper, 153x107mm]. View from the east looking towards the tower of victory, with the dome of the Alai Darwaza at the left, and the small pavilion, a late addition that for a time stood at the top of the tower, at the right. Adham Khan's Tomb can be seen in the background to the left of the Qutb. View from the entrance, looking through the gates of the cemetery. View from the entrance. This shows more of the collapsed fa�ade of this early monastery cave. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2081). View from the entrance driveway of the main facade of the Nawab's guest house, a building in Italianate style, constructed in 1875. View from the entrance looking along the main avenue towards the tomb. The tomb building is largely obscured by trees in the foreground.[Albumen print, 280x222mm]. View from the entrance looking into the cave. View from the entrance looking into the cave. View from the entrance looking up the stairway towards the Buddha image in the centre of the temple. In the foreground is the moon stone, with two flanking dvarapalas.[Gelatin silver print, faded, 55x80mm]. View from the entrance of the Shiva Temple. View from the Fort.[Albumen print, 238x183mm]. View from the Fort looking towards the Badshahi Mosque, with the Hazari bagh at left and Ranjit Singh's Tomb left of centre in middleground.[Albumen print, 297x219mm]. View from the from south. View from the gallery looking along the body of the church towards the apse. This photograph shows the synthronon, the tiers of seated occupied by the officiating clergy (here filled with suits of armour).[Albumen print, 258x198mm]. View from the gallery looking down onto and along the hall. View from the gallery looking down onto the chamber. View from the gallery looking towards the mihrab (prayer niche) and minbar (pulpit), and showing the surrounding Iznik tilework decoration. Print in poor condition, with overall spotting.[Albumen print, 308x377mm]. View from the gallery of the Qutb Minar, looking down onto work in progress on the Quwwat ul Islam Mosque. Ala-ud-din Khalji's Tomb is in the centre of the print. In the distance, over towards Mehrauli, is Adham Khan's Tomb. Very similar to print 2994. View from the gallery of the Qutb Minar looking down onto the screen of arches (seen here under scaffolding), with Ala-ud-din Khalji's Tomb in the centre of the print and Adham Khan's Tomb in the distance. Very similar to print 2960. View from the gallery of the Qutb Minar looking north over the site, with the Alai Minar in the centre of the photograph. View from the gallery of the Qutb Minar looking north-west, with the Quwwat-ul-Islam Mosque in the foreground, Iltutmish's Tomb beyond at the left, and the Alai Minar at the right. View from the gallery of the Qutb Minar looking north-west over the site, with the Quwwat-ul-Islam Mosque in the foreground and the Alai Minar at the extreme right. View from the Ganges looking towards the fort and palace of the Maharaja of Benares. Gaily painted state barge with twin figurehead in the form of horses is moored at the landing stage at the foot of the ghat. View from the Ganges looking towards the fort and palace of the Maharajas of Benares. Gaily painted state barge with twin figurehead in the form of horses is moored at the landing stage. Duplicate at Photo 10/6 (1). View from the garden, building partially obscured by trees. View from the garden, buildings largely obscured by foreground trees. View from the garden, looking along a vista of several flights of stone steps towards the house, a brick building in the style of a fort.[Albumen print, 287x228mm]. View from the garden, looking along the arcaded verandah. View from the garden, the building largely obscured by trees. View from the garden, with gardeners at work in the foreground. The building is largely obscured by trees. Photographed by Colin Murray for Bourne & Shepherd. View from the garden.[Albumen print, 135x97mm]. View from the garden.[Albumen print, 83x96mm]. View from the garden.[Silver printing-out paper, 92x119mm]. View from the garden. Inscribed in pencil on reverse: '238 The Mausoleum of Prince Etmad oo Daulah from the Gate.' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, 213x158mm]. View from the garden. Printed from a broken glass plate. View from the garden. Printed from a broken glass plate. View from the garden. Small faded print. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. View from the garden. Tomb partly concealed by trees. View from the garden looking along the front of the Residency.[Silver printing-out paper, 103x75mm]. View from the garden looking south towards the inner face of the gateway.[Albumen print, 175x166mm]. View from the garden looking towards the main fa�ade of the Jagan Mohun Palace. Caption notes read: 'Is a lofty building with tall Ionic columns in the verandah, reaching to the second storey. It was built by Krishna Raja Wodeyar III, as an ornament to the town and a place of amusement for European officers. The walls of the upper storey are painted with pictures, verging on the grotesque, representing the Raja in procession at Dasara and on shikar expeditions.' Duplicate at Photo 2/9 (12). View from the garden looking towards the Residency (partially obscured by foreground tree), a two storey brick and timber building with a tower. View from the garden of the house of Lewin Bentham Bowring.[Silver printing-out paper, 121x95mm]. View from the garden of the masonry-built bungalow with pantiled roof. View from the garden of the stone-built bungalow.[Albumen print, 281x215mm]. View from the garden of the two storeyed verandahed house at Mashobra near Simla, used as a weekend cottage by the Viceroy. A late print (1890s) of a Bourne photograph. View from the gardens. Small faded print. View from the garden showing a European woman and servant standing on the verandah. Caption on verso reads: 'Captain Mackenzie's house at Abbottabad'. Another copy of this photograph can be found at Photo 1143/1 (23). For a note on the photographer attribution, see collection introduction. View from the garden showing building work in progress. View from the garden with a European group standing in the doorway. View from the garden with Gwen Tobin standing in the foreground. View from the gate looking towards the entrance to the Lutheran Mission Church, known as New Jerusalem. The tympanum of the pediment contains a royal crest and is dated 1718. Duplicate prints at Photo 3/1 (6, 56, 58). View from the gateway, looking along the drive towards the building. The main bungalow is largely obscured by the pavilion in front of it. View from the gateway. View from the gateway. View from the gateway. View from the ghats, the minarets of the mosque visible in the background. View from the ghats. View from the ghats. View from the grounds. Small faded print. View from the grounds. Small faded print. View from the grounds. View from the grounds. View from the grounds. View from the grounds. View from the grounds. View from the grounds. View from the grounds. View from the grounds. View from the grounds. View from the grounds of Government House, looking south-east across the Maidan towards the Ochterlony Monument, with St Paul's Cathedral visible on the skyline at the extreme right. In the foreground are the two lion archways leading into Government Place. Print probably made in the 1890s.[Silver printing-out paper, 295x231mm]. View from the hill fort on Krishnagiri Hill looking over thew surrounding country. Annotations pencilled in the sky area of the print identify (?)main entrance, Teppakulam, Kalyani Mahal, granaries, entrance of first circuit round Rajagiri, Rajagiri Hill. Duplicate at Photo 1008/7 (1519).[203x153mm]. View from the hillside above, looking down onto the monastery buildings. View from the hillside above, looking down onto the temple group. View from the hillside above the house. View from the hillside behind, looking down onto the hospital, with the harbour beyond. With the Hospital Superintendent's house on the right.[Albumen print, 267x205mm]. View from the hillside looking down onto the colonnades of the bazzar. View from the hillside looking down onto the dzong or fort at Wangdue Phodrang. The entrance consists of a flight of steps leading up to the fortified doorway. Wangdue Phodrang is situated on the Sankosh River about ten miles south of Punakha. This photograph also appears in The National Geographic Magazine (Apr 1914, p. 418). View from the hillside looking down onto the fort walls. Duplicate at Photo 1008/9 (2654). Another copy at Photo 3/1 (44).[202x153mm]. View from the Howrah Bridge, looking towards Chotulal's Ghat, which stood on the east bank of the Hugli immediately to the north of the Howrah Bridge. The ghat is a subsantial structure in European classical style, topped by a drum. The date of construction is unknown, although it was in position by the mid-1870s (see Photo 1081/1(47)); the ghat was still standing in the mid-1940s (see photo 934(3)), but has since been demolished. Print unsigned, but probably by Johnston & Hoffmann. See also Photo 792 (2834) and Photo 934 (3). View from the Imambara looking towards the mosque in the Husaianabad. View from the inside. View from the Jumna looking up towards the Taj Mahal, the building almost silhouetted against a setting sun. With a ferryman poling a boat across the river in the foreground. A dramatic and unusual view of the monument. View from the Kaisarbagh looking towards the Chattar Manzil. A faded print.[Albumen print, 83x96mm]. View from the lake in the park looking towards the north fa�ade of the Potala. View from the lake looking towards the building known as Constantia, built by General Claude Martin as a country retreat and mausoleum, and completed after his death in 1800. The tall fluted column standing in the lake in the foreground was a later addition, designed by J.P. Parker. Additional copy negs at B.9272, B.9273. View from the left, looking along the columned fa�ade of the verandah. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (484). View from the left, looking along the verandah fa�ade. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (478). View from the left looking along the columned fa�ade of the cave. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (639). View from the left looking along the fa�ade of the chaitya hall. 'Recd. from Photo. Branch 31/12/74.' This is a variant of Photo 1000 (481), in landscape rather than portrait format. View from the left looking along the fa�ade of the vihara. View from the left looking along the fa�ade of the vihara cave. View from the left of the chaitya fa�ade. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (641). View from the left of the fa�ade of the unfinished vihara cave XIV. View from the left of the fa�ade of the vihara cave, with Gill seated in front of the entrance: '...a small, plain cave, the interior of which was till very recently filled up with mud, which had washed in from a torrent above, so as to render it inaccessible. To the same cause it may perhaps be ascribed that the pillars of the verandah have fallen down...' View from the left of the fa�ade of the vihara cave. View from the left of the unfinished vihara cave. View from the left of Vihara Cave VII, consisting of a deep verandah, with cells opening immediately off it at the back. View from the line looking towards station buildings at Yeola on the Dhond-Manmad State Railway, with passengers on the platform awaiting a train.[Albumen print, 292x233mm]. View from the Maidan looking towards the law courts, with the Town Hall in the right foreground (almost entirely obscured by trees). View from the Maidan of the south (Esplanade Row) facade of the Town Hall. View from the Maidan side, looking towards the gates, with the central portion of the south fa�ade of Government House visible beyond. The ironwork pediment above the gateway bears the legend 'G.R.I. 1911' in commemoration of George V's visit.[Silver printing-out paper, 290x235mm]. View from the Maidan side looking towards the gateway, with the dome of Government House visible beyond.[Silver printing-out paper, 290x216mm]. View from the main gateway. View from the main gateway. View from the Maota Lake looking up towards the palace on the hill above. Photographed by Colin Murray for Bourne & Shepherd. View from the monastery looking up towards the walled ridge and ruined tower. With some monastery buildings in foreground. View from the north, with Cave XXVI visible on the right. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (460). View from the north bank of the river, looking across the Jumna to the Taj, with the mosque on the right and the jawab (or 'echo').[Albumen print, printed from a cracked glass plate, 273x213mm]. View from the north bank of the tank looking towards the tomb, with part of the linking causeway visible at the right. Showing scaffolding in position on dome, and pavilion not yet removed (see note at print 488). View from the north-east, banks of the River Jumna in the foreground. View from the north-east, looking along the river towards the Taj. Duplicate of Photo 1000 (2007a) and variant of Photo 1000 (2123a). The only difference between the two prints is the position of some of the figures on the riverbank. India Museum no. 134, received 12 June 1869. View from the north-east, looking obliquely along the fa�ade of the temple. India Museum no. 822. Duplicate of Photo 1000 (3329). View from the north-east, showing the sculpture panel of Nara and Narayana on the east face. Described in detail in Alexander Cunningham, 'Report of tours in Bundelkhand and Malwa in the 1874-74 and 1876-77' (A.S.I. vol. X, Calcutta, 1880), pp. 105-110. This print is reproduced as a lithograph at pl. xxxv. Cunningham called this the 'Gupta Temple', and this name is also used in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900). Print surface is marred by reticulation of negative emulsion, resulting in an overall fine crazing. View from the north-east. Print in poor condition, with considerable fading and yellowing. Duplicate at Photo 169/2 (11). View from the north-east. View from the north-east. View from the north-east corner of the mandapa looking along the row of peripheral shrines which line the inner face of the north wall of the temple. View from the north-east looking across the Rup Sagar Tank towards the Keshav Bhavan pavilion on the west side. The domes of the Purana Mahal partly visible in the background. Duplicate at Photo 430/27 (41). View from the north-east looking obliquely along the columned verandah of the baradari. See M.H.H. Kuraishi, List of ancient monuments...in the Province of Bihar and Orissa (Calcutta, 1931), pp. 154-169 for a detailed description of the palace buildings (with map). Fig. 97 shows a general view of the Baradari. View from the north-east looking towards the mosque, with part of the tomb visible in the left foreground. Photograph by Colin Murray for Bourne and Shepherd. View from the north library building looking across the causeway towards the south library.*Extra print, not included in original published version.[Albumen print, 82x97mm]. View from the north-west, looking across the terrace towards the Diwan-i-Khas, with the Mussaman Burj on the left and the stone throne in the foreground.[Developing-out paper, 293x241mm]. View from the north-west, looking along the the screen facing the courtyard, with the Mussaman Burj just visible in the background. View from the opposite bank of a river. View from the opposite bank of the Gumti River with rowers in the centre. View from the other end of the study, looking towards the Viceroy's desk. View from the other side of the building. Poor quality photograph. View from the palace courtyard looking towards the gateway. For a view of the same structure from the other side, see Photo 2/8 (22). View from the plain below. View from the quadrangle looking towards the cusped arches of the arcade. Duplicate (later printing) of Photo 1000 (2972). Another copy at Photo 212/2 (32). View from the railway line looking towards the Delhi Gate and fort walls.[Developing-out paper, 294x240mm]. View from the ramparts looking along the wall. View from the ramparts looking along the wall of the fort. View from the ramparts looking down onto the road leading up to the main entrance to the fort, with the Man Mandir palace at the right. View from the Raya Gopura looking down onto the entrance to the Pudu Mandapa, with the gopuras of the Minakshi Sundareshvara Temple beyond. View from the Red Fort.[Printing-out paper, 148x102mm]. View from the right, looking along the fa�ade, showing painted walls and ceiling. Faded print. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (488). View from the right, looking along the fa�ade, showing the plain octagonal pillars (all damaged) with painting visible on the porch roof beyond. View from the right, looking along the fa�ade, with sculptures carved in deep relief. Photo 1000/8 (866) is a platinum print made from the same negative. View from the right, looking along the verandah towards the left porch. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (507). View from the right, looking obliquely along the fa�ade towards the Vihara Cave XV. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (643). View from the right. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (640). Reproduced as woodcut in Archaeological Survey of Western India, IV, facing p.49. The vihara cave is at the right, the chaitya hall with horseshoe shaped window to the left, slightly obscured. View from the right end, looking along the verandah, showing the painted ceiling. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (490). View from the right looking along the interior of the verandah of the vihara. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (474). View from the right looking along the interior of the verandah of the vihara cave. .Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (470). View from the right looking along the richly-carved temple fa�ade of the cave temple. Signed J.J. in the negative. With detailed descriptive note written in pencil on the reverse. View from the right looking towards the columned fa�ade of the temple, with the shrines partly visible behind. With four Indian men seated on the steps leading up to the temple. View from the right looking towards the columned fa�ade of the temple, with the shrines partly visible behind. With four Indian men seated on the steps leading up to the temple. View from the right looking towards the entrance to the cave, with monolithic pillar with lion capital at the left. India Museum no. 517(a). Duplicate of Photo 1000 (2414). View from the right of the columned entrance to the cave temple. View from the right of the entrance fa�ade of the vihara. A considerably faded print. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (472). View from the right of the left half of the entrance fa�ade and porch of the vihara or monastery. 'Recd. from Photo Branch 31/12/74.' Duplicate of Photo 1000 (461). View from the right of the richly-carved entrance porch. View from the right of the three storied fa�ade. View from the right of the Trimurti seen in print 2, with the Ardhanarishvara sculpture (Shiva represented as half-male and half-female) to the left. View from the right of the two storeyed fa�ade of the cave. View from the right showing gateway, causeway and octagonal hunting lodge View from the river, looking towards ghat and waterworks beyond.[Printing-out paper, 94x71mm]. View from the river, looking towards ghats, with the entrance to Aurangzeb's Mosque beyond. 'Ascending a series of steps from the Punchganga Ghat is to be found the approach to the lofty mosque of Aurnagzeb, known, as 'Madhodas ka Dharhara'. The edifice itself, is above the bank of the river; but, its foundations sink deep into the ground, and their enormous breastworks extend far down the bank. It is said, that the foundations of the mosque are as deep as the building is high. More than a century and a half has elapsed since the structure was reared and not a single stone seems to have been loosened. It is regarded as one of the chief sights of the city. On Fridays, a small number of the faithful Mahomedans assemble within its walls for religious purposes. There on the site of the Mosque once stood a magnificent temple of Madhava, which fell a victim to the rancour and violence of the Emperor Aurangzeb to make room for the propagation of his own faith in a part entirely inhabited by the Hindus. Reckoning from the floor of the Mosque the height of the Minarets is 163 feet. There is a staircase in each tower from the summit of which a complete view of Benares and its suburbs is gained.'[Albumen print, 275x214mm]. View from the river, the ghat crowded with people. A Jain temple beyond. Duplicate at Photo 10/6 (12). Also duplicated in Photo 177 and there dated January 1883. View from the river, the ghat crowded with people. A Jain temple beyond. Duplicate at Photo 17/3 (12). Also duplicated in Photo 177 and there dated January 1883. View from the river, the ghat crowded with small boats, the tower of the Nepalese temple visible in the left background. Duplicate at Photo 10/6 (14). View from the river, the ghat crowded with small boats, the tower of the Nepalese temple visible in the left background. Duplicate at Photo 17/3 (14). View from the river. Duplicate at Photo 10/6 (15). View from the river. Duplicate at Photo 10/6 (17). View from the river. Duplicate at Photo 10/6 (18). View from the river. Duplicate at Photo 10/6 (20). View from the river. Duplicate at Photo 10/6 (6). View from the river. Duplicate at Photo 17/3 (15). View from the river. Duplicate at Photo 17/3 (17). View from the river. Duplicate at Photo 17/3 (18). View from the river. Duplicate at Photo 17/3 (20). View from the river. Duplicate at Photo 17/3 (6). View from the river. Duplicate at print 59. View from the river. Other copies at Photo 2/4 (57) and Photo 27 (79). The massive (unfinished) mausoleum of Birsing Deo at left of group. The other cenotaphs are those of Barti Chand (1531-54), Madhukar Sah (1554-92), Pahar Singh (1641-53) and Sanwant Singh (1752-65). View from the river. View from the river bank, looking along the Jhelum towards the palace. Print unsigned, but probably by Baker.[Albumen print, 196x145mm]. View from the river bank below, looking up towards the ruined fort. View from the riverbank looking towards the Observatory overlooking the ghat. 'This Ghat is principally remarkable for the Old Observatory, situated upon the banks of the river at this spot. This lofty building gives a noble appearance to the Ghat and commands a fine view of the river. The approach to it is not from the Ghat, but from a street leading to it, at a considerably higher elevation than the foundations of the edifice. The Observatory was erected by Raja Jay Singh, who succeeded to the ancient Rajas of Ambheri, in the year 1693 A.D. Now most of its astronomical instruments are out of order.'[Albumen print, 275x214mm]. View from the riverbank showing the Lansdowne Bridge under construction.[Albumen print, numbered '29' and dated '30.8.88' in the negative, 288x237mm]. View from the River Jumna. View from the river looking towards ghat.[Printing-out paper, 95x70mm]. View from the river looking towards ghat and building beyond.[Printing-out paper, 95x70mm]. View from the river looking towards ghat and palace at head of the steps. Built by Munshi Shri Dhar, Dewan of the Raja of Nagpur. Duplicate at Photo 10/6 (10). View from the river looking towards ghat and palace at head of the steps. Built by Munshi Shri Dhar, Dewan of the Raja of Nagpur. Duplicate at Photo 17/3 (10). View from the river looking towards substantial waterfront mansions (probably, what is today the Egyptian Embassy*****).[Albumen print, signed 'Abdullah Fr�res' in the negative, 249x186mm]. View from the river looking towards the ghat, with temples and other buildings beyond.[Printing-out paper, 95x70mm]. View from the river looking towards the ghat, with the observatory beyond.[Printing-out paper, 95x70mm]. View from the river looking towards the ghat and building beyond.[Printing-out paper, 95x70mm]. View from the river looking towards the ghat and buildings beyond.[Printing-out paper, 93x70mm]. View from the river looking towards the ghat and buildings beyond.[Printing-out paper, 93x71mm]. View from the river looking towards the ghat and buildings beyond.[Printing-out paper, 95x70mm]. View from the river looking towards the ghat and buildings beyond.[Printing-out paper, 96x70mm]. View from the river looking towards the ghat and riverside buildings, with Aurangzeb's Mosque in the left background. 'This spot is one of the five chief places of worship on the banks of the Ganges. Five rivers meet at this point. Their names are 'Dhoutapapa', 'Jarananada', 'Kirnanada', 'Saraswati', and 'Ganga'. The first four are now hid under ground. The Ghat is broad and deep, and exceedingly strong. In the month of Kartik men and women bathe promiscuously here, and an illumination is made during the night.'[Albumen print, 275x214mm]. View from the river looking towards the ghat and the Rana Mahal beyond.[Printing-out paper, 95x70mm]. View from the river looking towards the ghat and the substantial building overlooking it. 'This is the most picturesque of all the Ghats of Benares. It is built by Munshi Sridhar Devan of the Raja of Nagpoor.'[Albumen print, 275x212mm]. View from the river looking towards the house of the brother of the Maharaja of Kashmir. The house is built in a sort of 'stockbroker's Tudor' stytle, with intricately carved wooden gables. View from the river looking towards the landing place and palace beyond, with a state barge moored at the landing place. 'It is situated at Ram-Naggar, upwards of a mile to the south-east of Sivala Ghat, on the opposite side of the river, presenting a picturesque frontage and is the residence of the present Maharaja of Benares. Within the fort is a temple dedicated to Vedavyas, the most renowned compiler of the Vedas; hither in the month of Magh (January and February) not only the people of Ramnaggar perform their pilgrimage, but great multitudes from Benares, likewise resort. In the month of Phagun (February and March) a singing and dancing festival called 'Raj Mangal' is held here; boats laden with people attended by singing and dancing girls proceed from Asi Ghat and row about the river in front of the fort.[Albumen print, 277x215mm]. View from the river looking towards the Observatory built by Raja Jai Singh of Jaipur. Duplicate at Photo 10/6 (13). Also duplicated in Photo 177 and there dated January 1883. View from the river looking towards the Observatory built by Raja Jai Singh of Jaipur. Duplicate at Photo 17/3 (13). Also duplicated in Photo 177 and there dated January 1883. View from the river looking up the slope towards the entrance gopura and perimeter wall of the temple complex. With additional shrines on the river bank at right. View from the river of ghats and shrines.[Platinum print, 280x239mm]. View from the river of the Chatr or Rajah Ghat, with the large house or serai built for travellers by Amrit Rao. Duplicate at Photo 10/6 (7). Also duplicated in Photo 177 and there dated January 1883. View from the river of the Chatr or Rajah Ghat, with the large house or serai built for travellers by Amrit Rao. Duplicate at Photo 17/3 (7). Also duplicated in Photo 177 and there dated January 1883. View from the river of the ghat and buildings beyond.[Printing-out paper, 95x70mm]. View from the river of the Rana Ghat with walled palace beyond. Built by the Maharana of Udaipur. Duplicate at Photo 10/6 (9). View from the river of the Rana Ghat with walled palace beyond. Built by the Maharana of Udaipur. Duplicate at Photo 17/3 (9). View from the river of the Shah Hamadan Masjid. View from the river of the Shah Hamadan Masjid. View from the river of waterfront mansions, showing the part of the village to the right of that seen in print 19.[Albumen print, signed 'Abdullah Fr�res' in the negative, 255x193mm]. View from the riverside looking towards the fortified buildings overlooking the ghat. 'The fort which stands upon the banks of the Ganges was the residence of Raja Cheit Sing and to this day, possesses all the freshness of new-built structures. On the upper part of the northern wall of the fortress, are five small windows in a row, from one of which Raja Cheit Sing, amid the imminent danger of being captured by the British force, had made his escape. Now, the entire building is the property of the Government, and is inhabited by a branch of the old Taimur family, the head of which was the late King of Delhi.'[Albumen print, 275x215mm]. View from the riverside looking towards the ghat and Jain temples overlooking the ghat. 'Here the Jyns have lately built two temples, which stands upon the bank.'[Albumen print, 275x214mm]. View from the riverside looking towards the resthouse. 'The flight of stairs rising from the Ghat enters to the large and massive house in the front, which has been built by Raja Amrita Rao for the charitable entertainment of the poor and strangers. The house is popularly called 'Chhattra' meaning a sort of choltry.'[Albumen print, 275x214mm]. View from the riverside looking towards the substantial building overlooking the ghats. 'These ghats are named after their buildiers. One of the flights of stairs leading up from the Panchganga Ghat enters to this large building known as Lakshmanbala or more popularly Kath ki Haveli, which it ascends and then issues into a lane, at the summit of the bank, leading into the streets of the city. The building although presenting an extensive frontage towards the river, is in reality, hardly more than a casemate to the bank. It is used as a temple and is dedicated to Lakshmanbala. The principal room is in an upper story, the roof of which is supported on carved wooden pillars of a deep black colour. The walls are embellished with paintings, many of which are representations of green trees.'[Albumen prints, 279x212mm]. View from the riverside looking up the steep flight of steps leading up from the ghat. 'According to the religious books of the Hindus the city is divided into three great portions, Benares, Kasi and Kedar. The Ghat bears the name of the portion in which it stands and also of the deity of the same name, the summit of whose temple may be seen from the river. The spot is a resort, especially of the Bengali and Tylangi population of the city.'[Albumen print, 275x214mm]. View from the road, the building partly obscured by trees. View from the road. View from the roadway, looking towards the entrance gateway and church beyond.[Albumen print, 174x104mm]. View from the roadway below, looking eastwards along the facade of the Potala.[Photogravure, 113x149mm]. View from the roadway below, looking up towards the chortens, perched on massive boulders above. 'There were five Brahmans with him. Each of them made one of these chotens, and then disappeared within it. The other three chotens are a little further on. Each choten, including the base on which it stands, is made from a single stone. The Ken-cho is standing beside the lower of the two chotens. Four copies, three of them telephoto and impaired by the arc [vignetting] on the top.' View from the roadway below and to the south-west of the Potala. View from the roadway looking towards the west end of the mosque and showing the three domes and minarets of the Zinat-ul-Majsjid, built in 1710 by one of Aurungzeb's daughters. Lower part of building obscured by trees. The photographer's hack ghari stands on the roadway in the foreground.Size: 414 (w) x 460 (h) mm. View from the roadway looking up towards the Potala Palace.[Photogravure, 149x114mm]. View from the roof of the Bhima Pandeva Temple looking down onto the tuk. Another copy of this print at Photo 1000 (763). View from the roof of the Golden Temple looking towards the domes and minarets of Aurungzeb's Mosque. Duplicate at Photo 10/6 (28). View from the roof of the Golden Temple looking towards the domes and minarets of Aurungzeb's Mosque. Duplicate at Photo 17/3 (23). View from the rooftop, looking towards a vista of pagodas. Plate 18 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). View from the Round Pool Garden looking towards the Viceroy's House. View from the same location as print 23, but in a larger format.[Gelatin silver print, 282x238mm]. View from the Scutari shore looking towards the tower, which stands on a small island in the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 252x198mm]. View from the Sea of Marmara looking towards Yedikule Castle.[Albumen print, signed 'Abdullah Fr�res' in the negative, 255x187mm]. View from the seashore, looking towards the outer walls of the fort. View from the seashore looking towards the fort. View from the shore looking down onto the Jagniwas Palace on Pichola Lake. View from the shore looking towards the Jagmandir Palace, with a boat drawn up on the shore in the foreground. The catalogue list at the end of the volume describes this, with justification, as 'a lovely picture'. Photograph by Colin Murray for Bourne and Shepherd. View from the shore looking towards the Lake Palace (Jagniwas Palace), with boats (the large one a state barge) moored in the foreground. Photograph by Colin Murray for Bourne & Shepherd.[Albumen print, 310x184mm]. View from the side looking along the main fa�ade of the house. View from the side of the tanks looking down onto the flight of steps.[Albumen print, signed 'Lawton' in the negative, 277x216mm]. View from the south, looking across the formal garden towards the tomb. View from the south, looking across the garden towards the palace buildings. India Museum no. 70. Duplicate of Photo 1000 (2064a). View from the south, looking across the garden towards the Taj Mahal.[Albumen print, vignetted oval image, 150x95mm]. View from the south, looking across the garden towards the Taj Mahal. View from the south, looking across the Maota Lake towards the Palace. Poor quality photograph. The attribution to H.H. Cole in Bloch's list is probably incorrect. View from the south, looking along the main axis of the garden. View from the south, with the Nakula Sahadeva Ratha on the left, with the stone elephant beside it and the Arjuna and Draupadi Rathas in the right background.[Gelatin silver print, 98x78 mm]. View from the south.[Sepia toned bromide print, mounted on brown card blind-stamped 'Bourne & Shepherd India', 203x149mm]. View from the south. Duplicate of print 381.[Gelatin silver print, 142x178mm]. View from the south. View from the south. View from the south-east, looking across buyildings of the fort towards the perimeter wall and domes of the Moti Masjid or Pearl Mosque.[Albumen print, 280x215mm]. View from the south-east, looking across the court of the Jami Masjid towards Shaikh Salim Chishti's Tomb on the left and (more prominent) Islam Khan's Tomb on the right.[Albumen print, 212x161mm]. View from the south-east, with the Dharmaraja Ratha in foreground, Bhima Ratha beyond, and Arjuna and Draupadi Rathas in background. View from the south-east, with the mandapa in the foreground. View from the south-east, with the stone elephant at the right. 'The fifth monolith, [Nakula Sahadeva Ratha], is generally considered the most elegant of the series'. Duplicate (later printing) of Photo 1000 (3093). Another copy at Photo 212/5 (39). View from the south-east, with the tomb in the foreground (partially out of frame), and the Alai Darwaza (the gateway beside the Qutb Minar) beyond. Pl. 12 of E.C. Impey, Delhi, Agra, and Rajpootana, illustrated by eighty photographs (London, 1865). India Museum no. 135, received 12 June 1869. Duplicate of Photo 1000 (2124a). View from the south-east.[Sepia toned bromide print, on brown card mount blind-stamped 'Bourne & Shepherd India', 204x151mm]. View from the south-east.[Silver printing-out paper, 163x101mm]. View from the south-east. View from the south-east corner looking across the court, which is filled with worshippers at prayer, toward the prayer hall. Women worshippers are in the foreground, separated by curtains from the men.[Silver printing-out paper, 294x211mm]. View from the south-east corner of Dalhousie Square (now B.B.D. Bagh), looking across the Dalhousie Tank towards the Post Office of the west side of the square, with the Dalhousie Institute in the left foreground.[Printing-out paper, 151x94mm]. View from the south-east looking across the garden towards the Gopal Bhavan, a pavilion built in 1763 at the west end of the palace. Duplicate at Photo 430/27 (24). View from the south-east looking along the fa�ade of the mandapa, and showing the pillars carved in the form of rearing horses and lions. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View from the south-east looking along the fa�ade of the mandapa, and showing the pillars carved in the form of rearing horses and lions. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. View from the south-east looking towards the eastern series of caves. View from the south-east of the Bhima ratha monolith, with the Arjuna ratha partly visible in the background. The large vaulted roof of this temple is cracked at the central point. View from the south-east of the building, with its elevated arched arcade. The precise function of the building has not been definitively decided: it was possibly used as a viewing platform. View from the south-east of the ruins of Muhammad Ghaus Gwaliari's Mosque, showing the great central arch and two minarets, the southern one partly dismantled. This photograph shows the building before it was further changed: 'But no building at Ahmadabad has lsot more of its character at the hands of the local Public Works Engineers than this. Till about twenty-five years ago it had a great propylon, quite 48 feet in height by 43 feet wide, with a recessed arch in it about 38 feet high. This had survived the shock of the earthquake of 1819, but the front of the great arch had become dilapidated, and the whole was then taken down to nearly the level of the roof...This entriely changed the appearance of the fa�ade - depriving it of all dignity... (James Burgess, The Muhammadan Architecture of Ahmadabad (part II, Archaeological Survey of Western India, vol. VIII, London, 1905, pp.48-49). View from the south-east of the two southernmost of the Pancha Rathas: the Dharmaraja Ratha (at left) and Bhima Ratha (right background). View from the south looking across the garden towards the Taj Mahal. View from the south looking along the main axis of the garden. View from the south looking over the roofs of the village towards the gateway of the Jami Masjid.[Albumen print, 217x169mm]. View from the south looking towards the Curzon Statue. The photograph is taken from in front of Queen Victoria's statue.[Gelatin silver print, 195x140mm]. View from the south of the Curzon Statue.[Gelatin silver print, 148x181mm]. View from the south-west, the Nandi pavilion in the left foreground. View from the south-west, with monolithic column in left foreground.[Platinum print, 283x236mm]. View from the south-west. View from the south-west corne of the tank, looking towards two gopuras (the east entrance to the temple is in the left background). Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View from the south-west corne of the tank, looking towards two gopuras (the east entrance to the temple is in the left background). Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. View from the south-west corner looking north. In the right foreground is the Dharmaraja Ratha, with the Bhima Ratha beyond. The Nakula Sahadeva Ratha is at the extreme left, with the nearby stone elephant largely concealed by a palm tree. View from the south-west corner looking north. In the right foreground is the Dharmaraja Ratha, with the Bhima Ratha beyond. The Nakula Sahadeva Ratha is at the extreme left, with the nearby stone elephant largely concealed by a palm tree. View from the south-west looking across the Kailasanatha at roof level. View from the south-west of the southern column, with the temple beyond. View from the south-west of the upper half of the vimana. View from the square looking towards the gatehouse and the two flanking pavilions. With soldiers on parade in foreground. Print in poorish condition, with overall spotting.[Albumen print, 383x309mm]. View from the steps looking down onto the moonstone.[Gelatin silver print, 217x172mm]. View from the steps of Chausathi Ghat looking along the riverbank. 'From Chouki to Panday Ghat the water is always very dirty and it is owing to a large Nala or gutter at the former which carries the filth of this quarter of the city into the Ganges. Chausathy is one of the most ancient Ghats of Benares. Rising up the flight of stairs is a temple in a narrow lane which is dedicated to the Goddess Chausathy. Rana Ghat has been built by the Rana of Udaypoor. It is less frequented by the faithful Hindus. The Mahommedans mostly bathe at this Ghat.'[Albumen print, 275x215mm]. View from the street, looking towards the temple entrance, with the pillar in the left foreground.[?Matte collodion printing-out paper, 292x198mm]. View from the street. View from the street looking along the range of buildings.[Albumen print, 371x304mm]. View from the street looking towards the arched passageway. View from the street looking towards the new North Gateway, with Government House beyond. The photograph shows the new gates erected after George V's visit to India in 1911-12.[Gelatin silver print, blind-stamped 'Bourne & Shepherd India', 290x203mm]. View from the street looking towards the small, triple-somed mosque. View from the street of the grilled frontage of the fountain; the library is presumably the building beyond, facing the water's edge of the Golden Horn. Taken from a similar viewpoint to print 26.[Albumen print, 325x262mm]. View from the street of the Persian House carpet dealers. View from the street of the richly-decorated house. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View from the street of the small wooden guardhouse.[Printing-out paper, 320x248mm]. View from the Taj Mahal looking towards the river. View from the tank in front of the memorial pavilion. Probably Baldeo Singh's chhatri rather than Balwant Singh's (see duplicate at Photo 430/27 (54)). View from the tank looking up towards the arcaded hall. View from the tennis court. View from the tennis court. View from the tennis court of a substantial residence. This is presumably the Bolghatty Palace, built by the Dutch in the 18th century and later used as the Britisah Residency. Second copy neg at B.9976. View from the terrace looking eastwards towards the Taj Mahal in the distance, with the Diwan-i-Khas (private audience hall) in the right foreground.[Printing-out paper, 219x152mm]. View from the terrace looking south towards the Diwan-i-Khas, with the Samman Burj pavilion on the left.[Printing-out paper, 209x152mm]. View from the terrace looking towards the bow-fronted colonnade seen in print 32, with the statue of Lord Cornwallis (rear view) in the foreground.[Platinum print.] View from the terrace of the tomb, looking towards the domed gateway. View from the terrace to the left of the Diwan-i-Khas (partially visible on right of print, with the Mussaman Burj beyond) looking eastwards along the Jumna towards the Taj Mahal in the distance.[Albumen print, portion missing from top right corner, 244x197mm]. View from the tomb, with pierced marble screen in foreground. View from the tomb looking across the garden towards the gateway. View from the Tomb of Bib Rajbai, looking westwards across the tank, which is bordered by the south wall of the masjid. India Museum no. 514(a). Duplicate of Photo 1000 (2408). View from the top of one of the minars looking out across the garden, with the south entrance gateway at the extreme left of the print. View from the top of one of the minars looking out across the garden, with the south entrance gateway at the extreme right of the print. View from the top of one of the minars looking out across the garden. View from the top of the east gopura looking north-west over the Shivaganga Tank towards the Subrahmanya Temple (in north-west corner of complex) and the Shivakumasundari Temple to the left. View from the top of the east gopura looking south-west across the temple complex, with the south and west gopuras in the background. View from the top of the entrance gateway, looking across the garden towards the tomb.[Albumen print, 282x200mm]. View from the top of the entrance gateway. Print in very poor condition, with very faded highlights. Duplicate at Photo 169/2 (5). View from the top of the entrance gateway. View from the top of the entrance gateway looking northwards across the garden towards the Taj.[Developing-out paper, 293x243mm]. View from the top of the gateway. Small faded print. View from the top of the gateway. View from the top of the gateway. View from the top of the gateway. View from the top of the gateway. View from the top of the main entrance gateway, looking along the garden towards the Taj.[Albumen print, 276x208mm]. View from the top of the tower, looking down onto the tank, with the causeway out to the octagonal hunting lodge in the centre. View from the tower of the main residency building. View from the tower of the Residency, looking towards the Banqueting Hall. View from the tower of the Residency looking towards the Banqueting Hall. View from the tower of Trinity Church looking southwards towards the sea, with a large unidentified building in the foreground. View from the tower seen in the centre of print 923, looking along the wall of the caravanserai towards the arched gateway, with the town beyond. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but reproduced in photogravure and credited to G. W. Lawrie, in H. H. Cole, 'Buildings in the Punjab' (Preservation of National Monuments, India, 1884), plate 2. View from the University, with the mosque in the right foreground and the Golden Horn beyond.[Albumen print, 324x260mm]. View from the upper gallery, showing sculptural detail along the triforium belt above the supporting side pillars, and the stone ribs of the roof. View from the upper storey of a building at the junction of Waterloo Street and Old Court House Street, looking across the grounds of Government House towards the north and east fa�ades. Dated 1898 in Lord Curzon's hand on the reverse.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 291x214mm]. View from the upper storey of the Hall of Audience, looking south-west across the courtyard towards the main buildings of the mosque. Ablution tank in right foreground. Almost identical to, and evidently taken on the same occasion as Photo 1000 (1762). Described in Archaeological Survey of Western India, VIII, pp. 21-23. Also similar to Photo (1761). View from the upper storey of the Hall of Audience, looking south-west across the courtyard towards the main buildings of the mosque. Ablution tank in right foreground. Almost identical to, and evidently taken on the same occasion as Photo 1000 (1762). Described in Archaeological Survey of Western India, VIII, pp. 21-23. Also similar to Photo (1761). View from the upper storey of the tomb looking (south-east?) across the tank, with one of the four corner domes in the lower foreground. View from the verandah of a bungalow. A squirrel is sitting in the centre. View from the village looking towards the Buland Darwaza or Victory Gate of the Jami Masjid.[Carbon print, 83x97mm]. View from the west, looking along the river towards the Taj Mahal.[Albumen print, vignetted oval image, 180x120mm]. View from the west, looking through the archway towards the Iron Pillar. India Museum no. 155. Variant of Photo 1000 (2144a). View from the western entrance looking along the length of the causeway towards the temple.*Extra print, not included in original published version.[Albumen print, 91x97mm]. View from the west looking towards the Qutb Minar, with thew archway of the Quwwat-ul-Islam Mosque in the left foreground, through which the Iron Pillar can be seen.[Silver printing-out paper, 152x106mm]. View from the west looking towards the Sat Mahal Pasada, the square tiered structure possibly based on a Khmer model, which can be seen in the background partly obscured by a tree. In the right foreground are the uprights of the Nissamkalata Mandapa (presumably the Bana Salara of the caption), each with three rectangular holes to accept the crosspieces (only one section of which is seen standing in this early view). To the left is the Atadage.[Albumen print, 280x214mm]. View from the west looking up the stairway towards one of the four seated Buddhas situated at cardinal points of the image house.[Gelatin silver print, 114x88mm]. View from the west of the Draupadi Ratha, showing the doorway flanking by dvarapalas (guardian figures) in niches. The carved stone lion is in the foreground. View from the west of the Draupadi Ratha, showing the entrance, with flanking figures carved in relief. '...[Draupadi ratha] represents the one most to the north, and is the only one which is finished, and has its cell hollowed out, and with carvings of figures inside'. Duplicate (later printing) of Photo 1000 (3087). Another copy at Photo 212/5 (33). View from the west of the Mussaman Burj, with the River Jumna beyond and the Taj Mahal visible in the distance.[Developing-out paper, 291x242mm]. View from the west of the two northernmost of the Pancha Rathas, on the left the Draupadi ratha, with curved, hut-like roof and female guardians between pilasters on each side of the doorway; on the right, the Arjuna ratha, similar in form to the Dharmaraja ratha. A stone lion in the foreground. View from the west side of the square looking towards Writers' Buildings and St Andrew's Church on the north side. The tank in the foreground. View from top of enclosure wall.[Albumen print, 235x183mm]. View from top of entrance gateway. Somewhat faded. View from top of entrance gateway. View from top of tomb looking towards entrance. Stereoscopic view. View from upper gallery of open hall, looking down onto verandah and garden beyond. Duplicate (later printing) of Photo 1000 (3098). Another copy at Photo 212/5 (44). View from Victoria Park. Duplicate at Photo 430/50 (11). View from waterside looking towards huse, with wooden walkways over the water in the foreground. View from within fort, looking out over the bay. View gateway to the north of the mosque. Iltutmish's Tomb is not visible. View in a chaitya hall. View in a courtyard of the Vishvanatha Temple, showing a nandi sculpture. View in a garden showing life-sized painted sculptures. View in a museum hallway, with the coin cabinet on the left. View in a pillared hall, possibly a mosque. The caption below the print is illegible (K...age?). Small print. View in a remple complex. View in a village with men sitting on the ground. View incorrectly described as, 'Street scene Khatmandu', both on the verso and in the accompanying manuscript list of Herzog & Higgins' Nepal views. View in courtyard, with Ramayana frieze in right foreground.[Lantern slide, 75X75 mm]. View in courtyard. Faded print. View in courtyard looking towards sanctuary tower. View in front of the gateway. From south-west. View in front of the Khas Mahal. From west. View in gallery beneath dome. Print in poorish condition, some overall spotting.[Albumen print, 379x312mm]. View in gardens showing sculpture.[Gelatin silver print, 303x202mm]. View in hallway, looking towards sitting room. Dated 1898 on reverse of print, although the caption to print 7 states that Haward lived at this address '85-87'. View in hallway looking towards flights of stairs to upper floor. View in interior. View in one of the halls of the palace, furnished in European style and with a profusion of chandeliers hanging from the ceiling. View inside enclosure, heavily overgrown. View inside excavated portion of mound. View inside one of the prayer halls of the monastery, with 'tankas' having from the pillars.[Gelatin silver print, 113x152mm]. View inside screen, showing grave and headstone. View inside the (roofless) prayer hall looking towards two mihrabs (prayer niches and the minbar (pulpit) on the far wall. View inside the fort, with two British officers posed in front of one of the buildings. Print is marked 'Confidential' in the negative. Another copy at Photo 98 (40). View inside the Sheesh Mahal. View inside the temple mandapa. Duplicate (later printing) of Photo 1000 (2979). Another copy at Photo 212/2 (39). View inside the tomb of Shaikh Fazl-ullah or Jamali. From north-west. View in temple complex, with massive guardian figures in front of building in left foreground.[Albumen print, 216x271mm]. View in temple courtyard, with figure about to strike the temple bell. View in the antechamber to the Royal Saloon, looking towards a door inlaid with mother of pearl decoration. On the wall to the right are panels of tiles representing a garden seen through a portico.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x200mm]. View in the bindery, with workers seated at their tables. View in the chaitya hall. View in the circular hall, looking up towards the frescoes of scenes from the life of Queen Victoria on the walls above the gallery.[Platinum print.] View in the courtyard. View in the courtyard of a house showing the balcony. View in the courtyard of the dzong. View in the courtyard of the dzong. View in the courtyard of the Kalyan mosque, looking towards the minaret. View in the courtyard of the Quwwat-ul-Islam mosque. Poor quality print. View in the courtyard of the Quwwat-ul-Islam mosque. View in the courtyard of the Quwwat-ul-Islam mosque. View in the courtyard of the Quwwat-ul-Islam mosque with the iron pillar. View in the durbar hall. View in the durbar hall. View in the fort? View in the fort. View in the garden. Small print. View in the garden looking towards a water-tower(?). View in the garden of the Storrs-Foxes bungalow. View in the Great Imambara complex looking towards the mosque. View in the Great Imambara complex looking towards the Rumi Darwaza. View in the grounds of the tomb. View in the Husainabad Imambara complex. View in the inner court of the Jahangiri Mahal. Small faded print. View in the interior of St John's Co-Cathedral. View in the Jai Vilas Palace. View in the Khusru Bagh; the tomb of Bibi Tambolan is in the foreground, the tomb of Begum Nur-un-nisa behind. Small faded print. View in the Lawrence Gardens looking towards the Lawrence Hall (built 1862) on the right, connected to the Montgomery Hall (built 1866) on the left. View in the nave. View in the pavilion adjacent to the Nadan Mahal. From south-west. View in the Sheesh Mahal. View in the Sheesh Mahal. View looking (?)north-east across the Golden Lily Tank, towards gopuras beyond. Duplicate (later printing) of Photo 1000 (2948). Another copy at Photo 212/2 (8). View looking (?)south-east along the ravine. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2056). View looking (?)south-west across the Golden Lily Tank towards gopuras beyond. Duplicate (later printing) of Photo 1000 (2947). Another copy at Photo 212/2 (7). View looking (?)westwards across the Golden Lily Tank towards two gopuras, the (?)Western Tower and the (?)Nadukkattu Gopura. Albumen print, 375 x 277 mm. View looking (?north-west) across the tank, with gopuras beyond View looking acrodd psrt of the lake towards the hospital buildings. View looking acroos the court of the Bhojshala Mosque towards the perimeter colonnades. View looking across a garden towards an unidentified house, possibly Skrine's residence at Sibi, Baluchistan.[Sepia-toned print, 165x120mm]. View looking across a garden towards the two-storey verandahed house. Precise location unknown, possibly military accommodation. View looking across a lake towards Government House. View looking across a large empty warehouse, the roof supported on numerous iron columns. Print in poorish condition, with overall spotting.[Albumen print, 372x303mm]. View looking across a Muslim cemetery towards the tomb of Shah Sahid. Another copy (in better condition) at Photo 197 (40). View looking across an ornamental lake towards the house. Sir Albert Sassoon (1818-1896) was a banker and philanthropist and a member of the Bombay Legislative Council from 1868-72.[Albumen print, 99x75mm]. View looking across an overgrown courtyard towards an arcade of three arches. Building unidentified, described as a 'nine-domed pavilion' in John M. Fritz, George Michell and John Gollings, City of Victory, Vijayanagara (New York, 1991), p. 101. Duplicate (later printing) of Photo 1000 (3147). Another copy at Photo 212/7 (9). View looking across an unidentified street to a building numbered '25'. It may be simply a private house or have some other function. View looking across a portion of the lake towards the fort. View looking across a portion of the Salween towards temple pagodas on the far bank.[132x78mm]. View looking across a small tank towards European mansions in an unidentified part of Calcutta. India Museum no. 1506. Annotated 'From Dr Leitner's negatives, 1/7/73.' Duplicate of Photo 1000 (3263). View looking across a stretch of water towards the engineer's office and quarters.[Gelatin silver print, 98x78 mm]. View looking across a tank towards a substantial range of buildings in mixed European style, apparently residential. The title above, taken from the back of the print, appears to be in error. View looking across a tank towards a thatched bungalow, probably the quarters of a railway engineer. V. Pont was stationed as Asansol in c.1877 and this photograph may be of his own bungalow. View looking across a tank towards the temple gopura.[?Matte collodion printing-out paper, 288x204mm]. View looking across a tank towards the towers of the Char Minar. View looking across a vegetable garden towards an unidentified building. This does not appear to be part of the palace or Kothi Dilkusha, unless it is an outbuilding, possibly servants' quarters (see print 513D). View looking across bridge in course of repair. View looking across bridge over moat towards the entrance. View looking across broken ground towards the gates of the fort. View looking across columned hall towards the minbar (pulpit). 'Photo. by W. Griggs from a negative lent by H. Newton Esq. late of Bombay, 17/10/71.' Received 2 March 1872. India Museum no. 527(c). Duplicate of Photo 1000 (2440). View looking across columned verandah towards pierced stone screen. India Museum no. 530(a). Duplicate of Photo 1000 (2445). View looking across court to screen of east fa�ade. View looking across court towards east fa�ade. The arches of the screen have been filled in and the building evidently converted to other uses. View looking across court towards prayer hall. View looking across court towards screen and iwan of the Fatehpuri Mosque. View looking across court towards the building. View looking across court towards the small mosque. View looking across courtyard. Faded print.[112x83mm]. View looking across courtyard of tomb. View looking across courtyard to cloisters. From north. View looking across courtyard to cloisters. From north-west. View looking across courtyard to corner of arcade. Duplicate of Photo 1008/9 (2515).[203x151mm]. View looking across courtyard towards arcade, with the ablution fountain in the foreground. Print in poorish condition, with overall spotting.[Albumen print, 304x368mm]. View looking across courtyard towards arcade.[Albumen print, 305x365mm]. View looking across courtyard towards arcade. Print in poorish condition, with overall spotting.[Albumen print, 303x367mm]. View looking across courtyard towards buildings. Faded print.[164x100mm]. View looking across courtyard towards colonnade and domes. View looking across courtyard towards columned hall. View looking across courtyard towards domed colonnade. View looking across courtyard towards doorway. Print in poor condition, with overall spotting.[Albumen print, 305x371mm]. View looking across courtyard towards mosque building, with fountain in foreground.[Albumen print, 388x307mm]. View looking across courtyard towards palace buildings. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 238, there titled, 'Entrance to one of the palaces in Seoul.' View looking across courtyard towards the arcade. View looking across courtyard towards the main sanctuary buildings. View looking across courtyard towards the outer screen of the mandapa (showing the carved columns seen in closed-up in print 1452d), with the Nandi pavilion to the right. View looking across courtyard towards the south fa�ade of the palace. View looking across courtyard towards tower, with colonnades beneath.[Albumen print, 167x224mm]. View looking across courtyard towards tower. Print in poor condition, with overall fading and spotting.[Albumen print, 192x250mm]. View looking across excavation, showing bases of stupa group. View looking across fields towards the domed shrine, partially concealed by trees. For another copy of this print, see Photo 1053 (15), located in IOR/L/PS/7/232 (1500).[Gelatin silver print, 166x109mm]. View looking across field towards fort.[78x102mm]. View looking across garden. View looking across garden (under snow) towards house. Faded print.[Silver printing-out paper, with '6/2' (6 February?) written in negative, 135x76mm]. View looking across garden and tank towards one of the buildings of the Chaumahalla Palace. With the Char Minar visile in the right background. View looking across garden towards hospital buildings, with figures posed among the trees.[Albumen print, 379x309mm]. View looking across garden towards hospital buildings.[Albumen print, 368x310mm]. View looking across garden towards house.[85x85mm]. View looking across garden towards house (largely obscured by trees).[Gelatin silver print, 132x75mm]. View looking across garden towards mosque. View looking across garden towards Residency ruins. View looking across garden towards substatntial bungalow. View looking across garden towards thatched bungalow. A faded and yellowing print.[Albumen print, 265x190mm]. View looking across garden towards the frontage of the single-storey building, in European classical style. (?)Part of the Diwan Deorhi complex. Another copy at Photo 1224/2 (49), there identified as the residence of Sir Salar Jang. View looking across garden towards the house. View looking across garden towards the Larence Memorial Cross and the Residency ruins beyond. This view shows the cross still raised on a small hillock (compare with print 77).[284x192mm]. View looking across garden towards the Taj Mahal. Inscribed in pencil on reverse: '244. The Taj from the Garden, Agra'. The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'W. Baker 244' in the negative, 197x146mm]. View looking across garden towards the two storey bungalow (the same building seen in print 10).[Albumen print, 277x209mm]. View looking across garden towards two thatched bungalows. View looking across hall towards shrine. View looking across inner courtyard of Agency House. The figures standing on the open balcony are identified as a clerk and Perkins (Telegraph Department). View looking across land planted out with what appears to be tea, towards a two-storey thatched bungalow.[Albumen print, 244x193mm]. View looking across lawn towards house.[101x78mm]. View looking across lawn towards ruins of Residency.[Gelatin silver print, 272x221mm]. View looking across moat towards fort. View looking across moat towards the crenellated ramparts of the fort. View looking across moat towards tiered watchtower, probably at Mandalay.[Gelatin silver print, 58x80mm]. View looking across one garden towards a neighbouring European house, in an undientified part of Calcutta. India Museum no. 1507. Annotated 'From Dr Leitner's negatives, 1/7/73.' Duplicate of Photo 1000 (3264). View looking across one of the tanks in each quadrant of the cross-shapped galleries, with the tiered galleries linking the lower terrace to the second beyond. A Cambodian man stands at the left to indicate scale.'A flight of steps conducts to each reservoir. One of these descents is represented on the right of this photograph. These steps have been guarded on either side by stone lions, which we found in fragments in the rservoir. The positions which they occupied are indicated by the three holes shewn on the upper surface of the stone, on the right and left of the steps. In the centre of each of the four reservoirs we found a heap of sculptured stones. What these may have been it is difficult to say - probably images of the snake god, or even fountains with consecratd water issuing from the mouths of the seven-headed snake. In examining the upper reservoirs we discovered an aqueduct, which appears to have communicated with the lower reservoirs...It will be seen from a careful examination of the photograph, that the ornaments along the ridges, and at the angles of the roof, consist of infinite repetitions of the seven-headed snake-god. The picture, which is a mere fragment of the building, will also convey some idea of the beauty of design that characterises the whole, where the architect has combined the ornate richness of the finest Indian structures with the power and massiveness of our most classical examples, and in no part of the building can we finder a finer illustration of the adaptation of the structure to the nature of the climate. The massive stone roofs, with their curved surfaces, present a reflecting angle to the hot rays of a vertical sun. Between the pillared spaces a mild reflected light would be admitted from the courts or the mirror-like surface of water in the reservoir; while the cool air of the inner corridors would induce an outward current, establishing a complete systeem of ventilation throughout the entire building. To sit at mid-day, beneath the inviting shade of these arching roofs, the solitude of the place and the scene before us carrying us back in imagination to the time when the temple was in its glory - when, perfect as they left the chisel of the sculptor, every pillar and ornament was mirrored in the reservoir, and when groups of devotees, in the graceful costume of a polished age, were waiting for the time of worship - seemed a recompense for all the toil of our journey, and inspired within us a feeling of reverence for the race that had raised such monuments to its religion and its god.'('Description of the Photographs', p. 41).[Albumen print, 185x236mm]. View looking across open court towards stables and five-storied tower. View looking across open ground towards a low range of buildings. View looking across open ground towards the ruins.[Albumen print, 83x96mm]. View looking across palace courtyard towards the Dasara Hall, with a function in progress. The courtyard is crowded with mounted state troops and other officials. Caption notes read: 'The view shown here is the east face of the palace which was burnt down in 1897 immediately after the marriage of the first Princes[s]. It was built in the ultra Hindu style. The front, which was gaudily painted in primary colours, and supported by elaborate carved wooden pillars, comprised a spacious porch [seen here] and in rear the Dasara Hall, an open gallery, where the Maharaja showed himself to the people on occasions of state seated on his throne'. Duplicate at Photo 2/9 (8). View looking across parade ground towards barrack buildings, with soldiers on horseback in the foreground. Print in poorish condition, with overall spotting.[Albumen print, 380x299mm]. View looking across part of site. View looking across pool or river towards the palace. View looking across pool towards a stand of trees.[Gelatin silver print, 133x82mm]. View looking across pool towards the ruined shrine. View looking across quadrangle, with a number of cadets posed in the foreground. The frames leaning against the wall in the background are photographs being printed by sunlight. A pencilled note on the back of the print identifies a number of the cadets, including: Gowan, Bird, Turner, Baldwin, Colquhoun, Warren, Wysner.For another view of the same part of the college, with the various rooms identified, see Photo 799 (22).[Albumen print, 214x140mm]. View looking across quadrangle towards barrack buildings, with soldiers on parade in the foreground. Print in poor condition, with overall spotting.[Albumen print, 379x300mm]. View looking across recently harvested field towards monastery and temple buildings, with a party of beggars in the middleground. View looking across rice paddy towards Chini Bagh, the Consulate-General's residence at Kashgar. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 64). See pp. 55-56 for a description of the house. Green-toned print, mounted on board with typescript caption.[315x188mm]. View looking across river towards small shrine. View looking across river towards temple. View looking across rooftops. View looking across rooftops towards palace. View looking across rooftops towards the Jami Masjid. View from the north-east, with the main entrance gateway at left of print. View looking across rooftops towards the Law Courts. Stereoscopic pair. View looking across rooftops towards the tomb. View looking across rooftops towards trhe scaffolded gopura. View looking across rooftops towards two of the tomb buildings and temple. View looking across room, with Katharine Bellasis seated ta the far end.[Albumen print, 158x114mm]. View looking across site and showing a number of dolmens. View looking across square towards building.[Albumen print, 376x305mm]. View looking across square towards guardhouse and buildings beyond.[Printing-out paper, 310x248mm]. View looking across square towards police station.[Printing-out paper, 320x260mm]. View looking across square towards the fa�ade of the building.[Albumen print, 380x310mm]. View looking across stream towards inscription rock, being examined by European and Indian assistants. Inscription face not visible. The photograph was presumably taken to illustrate Cousens' contention that the rock had been moved here from another location (see report pp. 35-36). The wild and rugged country also posed other threats: 'In fact, while photographing the lower pool and Asoka's rock our manouevres were being intently watched by a finely marked panther crouching within a cavern not twenty yards from the camera. I need hardly say he was not spotted until the photograph had been taken, and the things packed up again...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 35). View looking across substantial European houses towards St Paul's Cathedral in the background. The view looks north-west and the roads in the foreground may be the junction of Lower Circular Road with Elysium Row. In the right background, on the skyline, is the Bishop's Palace. View looking across tank, with central shrine, towards temple arcades on the further side. Mandapa at extreme right with gopura beyond. Duplicate (later printing) of Photo 1000 (3151). Another copy at Photo 212/7 (13). View looking across tank, with hillside and fort beyond. View looking across tank, with mandapa and temple remains beyond. View looking across tank.[Albumen print, inscribed in negative '70 Tank at...', 214x167mm]. View looking across tank (with central shrine) towards temple gopura beyond. Duplicate (later printing) of Photo 1000 (2998). Another copy at Photo 212/3 (18). View looking across tank of the Sarangapani Temple towards the gopura of other temples in the background (with the Kumbheshvara Temple on the right). Duplicate at ASS (190). View looking across tank of the Sarangapani Temple towards the gopura of other temples in the background (with the Kumbheshvara Temple on the right). Duplicate at Photo 1008/1 (190). View looking across tank towards buildings on man-made island.[Albumen print, vignetted oval image, 165x95mm]. View looking across tank towards gopura on far side. View looking across tank towards gopuras. Duplicate of Photo 1008/9 (2432).[202x153mm]. View looking across tank towards palace apartments.[Printing-out paper, 282x208mm]. View looking across tank towards ruined gateway, overgrown with vegetation.[Woodburytype, 235x186mm]. View looking across tank towards temple, with mandapa in foreground. View looking across tank towards temple.[Gelatin silver print, 98x78 mm]. View looking across tank towards temple. View looking across tank towards temple buildings.[Gelatin silver print, 285x197mm]. View looking across tank towards temple buildings abd gopura. View looking across tank towards temple gopura. Duplicate (later printing) of Photo 1000 (3017). Another copy at Photo 212/3 (40). View looking across tank towards the buildings, largely hidden by trees. View looking across tank towards the Calcutta School of Art. View looking across tank towards the cenotaph of Maharaja Bakhtawar Singh (1781-1815), partially obscured by pavilions extending over the water in the foreground. Stereoscopic pair. View looking across tank towards the domes of the tombs and mosque. View looking across tank towards the east fa�ade of the Asar Mahal. View looking across tank towards the temple.[Lantern slide, 75X75 mm]. View looking across tank towards the thatched bungalow of Dr J.D. Gregorson, Deputy Medical Officer of the Tingri Tea Estate.[Gelatin silver print, 118x71mm]. View looking across tank towards throne hall of the palace at the royal country residence at Bang Pa-in.[Albumen print, with photographer's blindstamp in bottom right-hand corner, 276x210mm]. View looking across tank towards two gopuras.[Gelatin silver print, 167x119mm]. View looking across tank towards unidentified buildings. View looking across tank with central shrine, towards the temple buildings. The Kalyanamandapa is in the centre of the print. View looking across temple tank with central shrine.[Gelatin silver print, 98x78 mm]. View looking across temple towards window. A poor quality photograph. View looking across tennis court towards thatched bungalow, with exterior stairs leading to verandah on upper storey.[Printing-out paper, 96x72mm]. View looking across the Anguri Bagh (Grape Garden) towards the Khas Mahal. The Taj Mahal can be partly glimpsed in the distance. View looking across the Anguri Bagh towards the Khas Mahal pavilion, with the Taj Mahal visible in the distance.[Albumen print, 83x95mm]. View looking across the arcaded and pavilioned Khwaju Bridge. View looking across the baoli or step-well from one of the lower levels.[Gelatin silver print, 150x204mm]. View looking across the Bhagirathi River towards the ghat, crowded with people on its stone steps. 'At a little more than a mile from the mosque, a bye path leads to the Bhagirathi River at Sadulapur Ghat, a place of peculiar sanctity to the Hindus. Throughut the period of Muhammadan rule in Gaur, this spot alone was left to the Hindus for the performance of their sacred rites, and here all the dead were burnt. The sacred ghat still exists on the banks of the stream, and thousands annually attend to celebrate their worship of the local deity. Just above the bank is a beautiful grove of very old trees, which afford a grateful and refreshing shade to the pilgrims. From this point commenced the outer ramparts of the old city, running east from the stream.'[Woodburytype, 231x182mm]. View looking across the Bosphorus from the Asian side towards the Dolmabah�e Palace on the farther bank. Distant view of the Taskisla Barracks, on a hill top, on the left.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x200mm]. View looking across the canal towards the tower of the temple. View looking across the cave towards the sculptures on the far wall and the entrance to the linga shrine.Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 32; James Fergusson and James Burgess, The cave temples of India (London, 1880), pp. 429-430. View looking across the cemetery towards the brick-built domed tomb of Shah Shahid, to the east of the Bala Hissar. The reference to the Armenian Cemetery in Kabul appears to be an error. View looking across the Chitral River towards the outer walls of the fort. View looking across the colonnaded court, planted with trees and shrubs. Signed in the negative O.S. Baudesson 1882. View looking across the colonnaded court, planted with trees and shrubs. Signed in the negative O.S. Baudesson 1882. View looking across the compound towards the bungalow. View looking across the court, crowded with worshippers, towards the main body of the mosque.[Silver printing-out paper, 211x152mm]. View looking across the court, which is filled with worshippers, towards the main body of the mosque.[Silver printing-out paper, 152x105mm]. View looking across the court of the Jami Masjid towards Shaikh Salim Chishti's Tomb (on left) and Islam Khan's Tomb (right).[Albumen print, 213x123mm]. View looking across the court of the Jami Masjid towards the prayer hall. The baradari (print 77) can be seen on the skyline in the background.[Gelatin silver print, 286x233mm]. View looking across the court of the mosque towards the prayer hall.[Printing-out paper, 218x154mm]. View looking across the court of the mosque towards the prayer hall. The whole of the court is filled with figures kneeling in prayer. View looking across the court to the east fa�ade of the triple-domed mosque. Record no. 411 of Delhi Province. List of Muhammadan and Hindu Monuments (vol II, Delhi Zail (excluding Shahjahanabad), Calcutta, 1919), pp. 295-6. View looking across the court towards the arched screen of the mosque. View looking across the court towards the east fa�ade of the Jami Masjid, with the ablution tank in the foreground. The photograph has been taken with a lens of insufficient focal length to cover the plate, and there is vugnetting at the corners. View looking across the court towards the iwan. India Museum no. 505(a). Duplicate of Photo 1000 (2391). View looking across the court towards the main fa�ade and iwan of the mosque. View looking across the court towards the mosque.[Silver printing-out paper, 218x153mm]. View looking across the court towards the pillared prayer hall. View looking across the court towards the prayer hall. Unnumbered print, but possibly no. 1401 in the Bourne & Shepherd catalogue.[Albumen print, 93x83mm]. View looking across the court towards the prayer hall. Unnumbered print, but probably no. 1227 in the Bourne & Shepherd catalogue.[Albumen print, 83x96mm]. View looking across the court towards the triple-arched screen of the mosque. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ix, and described pp. 47-48: 'The most notable feature...is the tall minars over the central piers of the fa�ade...' See also print 1836. View looking across the court towards the triple-arched screen of the mosque. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ix, and described pp. 47-48: 'The most notable feature...is the tall minars over the central piers of the fa�ade...' See also print 1836. View looking across the courtyard, here seen cluttered with later buildings and a tennis court, with the Bari Khwabgah at the left (partly obscured). View looking across the courtyard. View looking across the courtyard of the Jami Masjid at Tatta. View looking across the courtyard of the Jami Masjid from the south-west, with Shaikh Salim Chishti's Tomb in the foregound and Islam Khan's Tomb beyond.[Printing-out paper, 235x178mm]. View looking across the courtyard of the Mosque, towards the portico (son cemaat yeri) and the entrance.[Albumen print, 380x307mm]. View looking across the courtyard of the mosque, with the ablution fountain in the centre.[Albumen print, 374x305mm]. View looking across the courtyard of the Moti Masjid towards the Jumna and the Taj Mahal in the distance. Inscribed on reverse of print: '223. The interior of the entrance gate with Taj & river.' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'W. Baker 223' in the negative, 212x158mm]. View looking across the courtyard to the iwan of the mosque. View looking across the courtyard towards the arched screen of the masjid, situated to the west of the Jami Masjid. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 84. View looking across the courtyard towards the audience hall, with ros of men seated on the verandah and in front of the building. View looking across the courtyard towards the Imperial Medical School. A figure in full-length standing portrait, in front of the building.[Albumen print, 302x379mm]. View looking across the courtyard towards the iwan, with worshippers gathered on the steps of the mosque. View looking across the courtyard towards the iwan of the Jami Masjid. View looking across the courtyard towards the main entrance of the academy building.[Albumen print, 310x382mm]. View looking across the courtyard towards the main hall of the mosque. India Museum no. 513(a). Duplicate of Photo 1000 (2406). View looking across the courtyard towards the prayer hall of the Pearl Mosque.[Printing-out paper, 241x175mm]. View looking across the courtyard towards the richly decorated cusped arches of the arcade. Albumen print, 358 x 268 mm. View looking across the courtyard towards the screen of cusped arches of the mosque, with the ablution tank in the middleground. View looking across the courtyard towards the screen of the prayer hall and the dome. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ci (b), and described pp. 110-111: 'One of the most perfect buildings, though very small, is the little Makka Masjid, shut in by very high walls in the south-eastern corner of the citadels...' View looking across the courtyard towards the screen of the prayer hall and the dome. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ci (b), and described pp. 110-111: 'One of the most perfect buildings, though very small, is the little Makka Masjid, shut in by very high walls in the south-eastern corner of the citadels...' View looking across the courtyard towards the two-storeyed arcaded kacheri or court. The barrel of a massive iron cannon lies on the ground in the left foreground. View looking across the Dalhousie Tank towards the General Post Office. View looking across the Dalhousie Tank towards the Post Office. Original negative and modern copy print at Photo 527/2 (6). View looking across the Dalhousie Tank towards the Post Office. View looking across the dry tank. View looking across the dry tank towards the arcade on the far side. View looking across the empty tank with its central shrine towards the gopura and shrine of the Pattabhirama Temple in the background. View looking across the entrance gate towards the main entrance of the school building. Partial view of the school's front garden and a seal over the schools entrance gate.[Albumen print, 304x384mm]. View looking across the formal garden towards the durbar hall. Duplicate at Photo 430/27 (10) where it's described as the kacheri. View looking across the Galata bridge towards Eminonu, with a full view of the Rustem Pasha Mosque, the fire tower near Suleymaniye and two Imperial mosques. The photograph is taken from Galata.[Albumen print, 304x382mm]. View looking across the garden, with part of Humayun's Tomb visible at the right. The caption incorrectly states that the Barber's Tomb is visible in this print. View looking across the garden at the front of the building, towards a group of students.[Albumen print, 255x196mm]. View looking across the garden from the south-east. View looking across the garden of the Imambara towards the imitation Taj tomb, with the Jami Masjid in the background.[Albumen print, 82x95mm]. View looking across the gardens towards the office buildings. View looking across the garden towards enclosing walls.[101x76mm]. View looking across the garden towards the central pavilion, with the gateway and walls of the fort beyond. Incorrectly identified as Jahangir's Tomb on back of print. Photograph uncredited, but probably by Lawrie.[Gelatin silver print, 288x233mm]. View looking across the garden towards the Choti Khwabgah ('Small Sleeping Palace'), the building partly obscured by trees in foreground. View looking across the garden towards the Gopal Bhavan. View looking across the garden towards the house. View looking across the garden towards the house of Colonel C.T. Daukes, Political Agent of the Loralai District. Although this print has been inserted out of sequence, the date would appear to be correct, since in his account of the tour Stein states that he set out for Loralai from Fort Sandeman (Zhob) on 22 February and accomplished the journey in a day (p. 50). View looking across the garden towards the main entance of the school (similar to print 7, but photograph is taken from a different angle).[Albumen print, 297x381mm]. View looking across the garden towards the pavilion. View looking across the garden towards the ruins of the pavilion known as the Pani Mahal. View looking across the garden towards the small bungalow, with a European group posed on the driveway. View looking across the garden towards the substantial two storey house in classical style, with several Europeans posed on the verandahs. View looking across the garden towards the Taj Mahal. View looking across the garden towards the tomb.[Silver printing-out paper, 216x153mm]. View looking across the garden towards the Uskudar Middle School.[Albumen print, 300x378mm]. View looking across the Golden Horn towards the college buildings on the far bank.[Printing-out paper, 251x199mm]. View looking across the Golden Lily Tank towards gopuras of the Minakshi Sundareshvara Temple. View looking across the Gopal Sagar towards the west fa�ade of the Gopal Bhavan, flanked by the Savan and Bhadon Bhavans. View looking across the Green, with the Cornwallis Monument in the centre and the tower of St Thomas' Cathedral in the right background.[Albumen print, 232x192mm]. View looking across the Gumti River towards the Chattar Manzil.[Albumen print, 84x96mm]. View looking across the hall, which contains a number of individual tombs. View looking across the houses of the town towards the fort.[97x72mm]. View looking across the inner courtyard of the Kaiser Bagh towards the tombs of Saadat Ali Khan and his wife Khursid Zadi. View looking across the interior, showing Iznik tilework walls, with the muezzin's platform (muezzin mahfili) in the right foreground. Print in poorish condition, with overall spotting.[Albumen print, 382x309mm]. View looking across the Jhelum looking towards the palace. Left-hand section of panoramic view, joining up with print 231. View looking across the Jhelum looking towards the palace. Right-hand section of panoramic view, joining up with print 230. View looking across the Jhelum towards the Shah Hamadan Masjid on the other bank.[Albumen print, signed 'Bourne 745' in the negative, 191x106mm]. View looking across the Jhelum towards the wooden house, with balconies overlooking the river. Caption note continues: 'This lovely spot, the residence of the Maharajah's favorite priest, is familiar to every visitor of Sreenuggur. It is situated above the first bridge. Boatsm such as that illustrated in the foreground, are the ordinary conveyance of all who visit Cashmere.' View looking across the lake in the garden of the Beylerbeyi Palace, with palace buildings, largely concealed by trees, beyond.[Albumen print, 254x201mm]. View looking across the lake towards the Ananta Vasudeva Temple. View looking across the lake towards the bund, with the palace on the hillside beyond.[Printing-out paper, 281x208mm]. View looking across the lake towards the palace. Snapshot.[Gelatin silver print, 122x101mm]. View looking across the lake towards the palace. View looking across the landing on the first floor, showing the various artefacts decorating the walls. Pencilled note on the mount in Temple's hand identifies the entrance to the billiard room on the ground floor, the entrance to the library on the first floor, Nicobar spears on the wall, pistols from the Anglo-Burmese War of 1824, carved images of [Burmese] nats on the balusters, Andamanese arrows and Indian swords. View looking across the lawn towards a substantial two-storey brick bungalow. See also print 17 for another view of the house.[Albumen print, signed 'Lawrie & Co.' in the negative, 270x207mm]. View looking across the lawn towards the Chalet Kiosk (see also print 9).[Albumen print, 259x201mm]. View looking across the lawn towards the Residency ruins, with the Lawrence Memorial Cross in the centre foreground. An earlier view of the gardens shows the cross in a different position, raised on a small hill overlooking the Residency. See Darogha Ubbas Ali, 'The Lucknow Album' (Calcutta, 1874, plate 34).[Gelatin silver print, 284x228mm]. View looking across the line towards the platform, with the station buildings beyond.[Albumen print, 381x309mm]. View looking across the maidan. View looking across the maidan. View looking across the Manash-Sarovar Tank towards the palace. View looking across the Memorial Garden towards the gothic screen surrounding the Memorial Well.[Albumen print, 83x95mm]. View looking across the moat, here crossed by a bridge, towards the city walls.[Gelatin developing-out paper, 202x140mm]. View looking across the moat, with bridge leading into the palace area at the left.[Gelatin silver print, 175x121mm]. View looking across the moat, with massive corner bastion in foreground. India Museum no. 68. Duplicate of Photo 1000 (2062a). View looking across the moat and along the wall of the fort. The gopura of the Jalakanteshvara Temple is visible in the distance. View looking across the moat or tank towards towards the outer walls of the prison also seen in prints 104-105. With Rajagiri Hill visible in the background. Duplicate at Photo 1008/9 (2337).[203x153mm]. View looking across the moat towards monastery buildings. This print is a continuation of the right-hand section of print 2559. View looking across the moat towards monastery buildings. This print is a continuation of the right-hand section of print 2559. View looking across the moat towards one of the massive corner bastions (the Lakha Burj) of the fort at Dig. Duplicate at Photo 430/27 (46). View looking across the moat towards the entrance archway (flanked by paintings of charging elephants) and bastion of the north gate of the fort. Duplicate at Photo 430/27 (16). View looking across the moat towards the forts walls on the far side. Duplicate at Photo 3/2 (106). View looking across the moat towards the gate, surmounted by a tiered pyatthat.[Albumen print, 272x194mm]. View looking across the moat towards the Jawahur Burj (tower or mound) and the building on top of it (see following print). Duplicate at Photo 430/27 (14). View looking across the moat towards the Pani Mahal. Print 9 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860), there titled, 'Western Ruins of the Citadel'. View looking across the moat towards the tiered gateway.[152x110mm]. View looking across the moat towards the walls of the fort, with a temple gopura in the background. View looking across the nave to a large stained-glass window. View looking across the nave towards the chancel. View looking across the open area of the fort, dotted with small stone buildings serving as magazines, with the small temple visible in the background. Duplicate at Photo 1008/8 (2250).[199x152mm]. View looking across the overflow towards a small pavilion.[Printing-out paper, 282x207mm]. View looking across the overgrown court towards the fa�ade of the mosque, in largely ruinous condition, with the minarets flanking the iwan partially collpased. View looking across the parade ground towards the barracks. Print in poorish condition, with overall spotting.[Albumen print, 379x305mm]. View looking across the parad ground towards college buildings.[Printing-out paper, 253x198mm]. View looking across the park towards the Hamidiye Mosque, with palace buildings on the hillside behind. A procession of horsemen can be seen approaching the mosque, presumably part of the Selamlik observance (see prints 2-7).[Albumen print, 257x199mm]. View looking across the paved platform, showing tombs and numerous small minars: 'The whole top between the graves is paved, and a flight of steps leads up to it upon the south side. Some of the tomb-stones are placed upon high platforms, from each of the four corners of some of which rise little stumpy ill-shapen minars, which from a distance look like conical chimneys, both these and the platforms being covered with enamelled tile-work...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, p. 8). View looking across the pavilion with its marble pillars towards the Ana Sagar lake. A European figure is seated on the balcony overlooking the lake. Built by the Emperor Shah Jahan, the pavilion was used at this period as the British Residency. View looking across the Pichola Lake towards the Palace. Printed from a badly broken glass plate. Signed in the negative O.S. Baudesson 1882. View looking across the Pichola Lake towards the Palace. Printed from a badly broken glass plate. Signed in the negative O.S. Baudesson 1882. View looking across the plain dotted with temples, towards the Gawdawpawlin Pagoda, with the Irrawaddy in the background. With letterpress note: 'Taken from the top of Thapinyu. The ruins of all shapes and sizes seen in this view, give an idea of the manner in which they are scattered for about eight miles along the river, to a depth of sometimes three miles'. View looking across the pool, with a large fountain in the form of a chhatri in the centre.[Printing-out paper, 281x207mm]. View looking across the pool towards the main temple building.[Platinum print, 239x293mm]. View looking across the pool towards the museum building, with sculpture pieces on display in the foreground. The figure leaning against one of the pieces may well be Broadley. See note at print 199. View looking across the pool towards the temple and pavilion. View looking across the Queen's hall, in the centre of which stands Sir Thomas Brock's statue of the young Queen Victoria. Enlarged duplicate of print 279.[Gelatin silver print, 169x245mm]. View looking across the riding ground towards the riding school buildings.[Printing-out paper, 252x199mm]. View looking across the river towards a group of ghats and shrines on the farther bank. India Museum no. 868. Duplicate of Photo 1000 (3375). View looking across the river towards a newly built part of the palace (compare with Photo 501/2 (34)), designed in European style and apparently here still under construction. View looking across the river towards the fort. India Museum no. 900. View looking across the river towards the fort. View looking across the river towards the ramparts of the fort. The tomb itself is not visible, apart from the minarets projecting above the walls. Faded print. View looking across the river towards the temple. India Museum no. 537(a). Not duplicated in India Office Series. View looking across the river towards the temple on the far side. View looking across the rooftops of one of the Jain temples on Girnar. View looking across the room, during the period of Lord Lytton's viceroyalty. The calendar on the desk in the foreground reads 'Monday 26 February 1877'. This print was probably made in the early 1900s.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 294x211mm]. View looking across the Samatsar Lake towards the palace which stands on its banks. The exterior walls are largely plain, apart from decorative window balconies. View looking across the site towards the Dhamekh Stupa, the Jain Temple and the Archaeological Museum in the background. View looking across the square towards the artillery barracks, with horse-drawn gun carriages in the foreground.[Albumen print, 373x309mm]. View looking across the square towards the clocktower, with a line of soldiers in front.[Albumen print, 303x373mm]. View looking across the square towards the factory.[Albumen print, 365x286mm]. View looking across the stream in the park towards the north fa�ade of the house.[Silver printing-out paper print made c. 1900, signed 'Bourne 1746' in the negative, 285x210mm]. View looking across the street toward the Imperial Library.[Albumen print, 308x384mm]. View looking across the tank, which has a central shrine approached by a narrow stone causeway. 'The most picturesque object within the temple enclosure is a small stone tank with a pretty little stone mandapa or pavilion in its centre with a wooden roof covered with small copper plates arranged like tiles, which is used during festival times when a metal image of the deity is taken out of the central shrine and carried in procession and placed in the little mandapa in the centre of the tank. The domed-shaped erection shown in the background of the photograph just beyond the north-east corner of the tank, is a gigantic mound of fire-wood built up in the form of a dome and is renewed every two years' (Alexander Rea, Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1920-1921 (Madras, 1921), p. 24). View looking across the tank (with central island shrine) towards the gopura of the temple. Duplicate (later printing) of Photo 1000 (2985). Another copy at Photo 212/3 (5). View looking across the tank (with central island shrine) towards the gopura of the temple. Lyon's 'Notes to accompany a series of photographs prepared to illustrate the ancient architecture of Southern India' (Marion and Co., London, 1870), edited by James Fergusson, gives the following description of this photograph: '335 - About a mile outside the village is a small tank and another temple, into which no strangers are allowed to enter. It is also dedicated to Vishnu, and has several small cars belonging to it placed under the thatched roof seen in the Photograph. The long stone roof on the left is of a form seldom seen in or about Hindu temples. It only covers, however, two large stone rooms, perfectly empty and neglected, with a few figures carved on one or two of the pillars.' Another copy at Photo 1000 (2985). View looking across the tank in Dalhousie Square towards the General Post Office on the north-west corner.[Albumen print, 234x180mm]. View looking across the tank towards gopuras and shrines on the farther side, with the shrine in the centre of the tank in the foreground. India Museum no. 615. Duplicate of Photo 1000 (2558). View looking across the tank towards gopuras of the Minakshi Sundareshvara Temple. Negative marked up for cropping. Original and duplicate negatives only, no print. View looking across the tank towards the Baba Atal Tower. View looking across the tank towards the cenotaph.[Albumen print]. View looking across the tank towards the central island shrine. Duplicate (later printing) of Photo 1000 (2980). Another copy at Photo 212/2 (40). View looking across the tank towards the dalan or hall on the east bank, before clearance. The right-hand part of the building (on the south bank of the tank) is also seen in prints 373D-374D. View looking across the tank towards the domes of the Tarakanatha Temple. View looking across the tank towards the east fa�ade of the mosque, with figures grouped around the ablution tank in the right foreground. View looking across the tank towards the Fort on the hillside beyond. View looking across the tank towards the fort on the rock.[gelatin silver print, 78x52mm]. View looking across the tank towards the gopura of the Minakshi Sundareshvara Temple. Original and duplicate negatives only, no print. View looking across the tank towards the gopuras beyond. View looking across the tank towards the main arched entrance. View looking across the tank towards the palace apartments. Similar view to Photo 1000 (2010a). India Museum no. 69. Duplicate of Photo 1000 (2063a). View looking across the tank towards the sanctuary tower. View looking across the tank towards the shrine on the island. View looking across the tank towards the Taj Mahal Palace. View looking across the tank towards the temple, 'a double-shrined old temple of the Hemadpanti class' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 4).[Printing-out paper, 290x208mm]. View looking across the tank towards the temple.[Albumen print, 84x96mm]. View looking across the tank towards the temple. View looking across the tank towards the temple. View looking across the tank towards the temple in a grove of trees on the far side. 'On the north of the Mahamayi temple enclosure is a large square masonry tank, upon the far, or north side, of which is the little stone temple of Kanthi or Kanthesvara. It is a neat little building of no great age, being built in a composite style with Muhammadan features cleverly adapted. Into its walls have been set images from some very old temple of the 8th or 9th century, among them being a representation of the marriage of Siva and Parvati, a most unusual sculpture outside of the cave temples...The temple is cracked from top to bottom, and is in a very shattered condition, probably due to the subsidence of the foundation in the west side.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', pp. 27-28). View looking across the tank towards the temple on the summit of the fort. Duplicate of Photo 1008/10 (862D).[202x153mm]. View looking across the tank towards the tomb. View looking across the temple complex towards one of the gopuras. View looking across the temple complex towards one of the gopuras. View looking across the temple tank, with the shrine in the middle of the tank in the foreground. Albumen print, 365 x 262 mm. View looking across the terrace outside the Diwan-i-Khas. Dated 'Nov '97' on reverse but this probably refers to the date the Fort was visited. View looking across the tracks towards the station buildings. View looking across the upper terrace of the tomb, with the cenotaph in the centre.[Printing-out paper, 248x185mm]. View looking across the water towards the group of temples on the bank of the east end of the artificial lake or tank at Badami. View looking across the water towards the group of temples on the bank of the east end of the artificial lake or tank at Badami. View looking across the wide paved courtyard towards buildings of the dzong. Photograph also appears in The National Geographic Magazine (Apr 1914, p. 397) with the following caption: 'A courtyard at Tashi-Cho-Jong, with the Citadel on the left and a fine chorten, or shrine, in the centre'. Duplicate at Photo 613 (8), captioned 'Tassisudon. Deb Raja's Court'. View looking across water to ghats and buildings beyond. View looking along a colonnade, lined on both side with sentries. Print in poorish condition, with overall spotting.[Albumen print, 378x309mm]. View looking along a corridor lined with massive vases and candelabras.[Albumen print, 260x202mm]. View looking along a corridor of the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 199x257mm]. View looking along a fa�ade of the palace. A dark print. View looking along a length of the Theodosian Walls towards the tower and prison.[Albumen print, 375x310mm]. View looking along a line of square-sectioned columns. Every inch of wall and column space is covered with surface tracery in shallow relief. The crude repointing work noted by Cousens (see note at print 1463) can also be clearly seen in this photograph. View looking along a line of towers on the Theodosian Wall.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x201mm]. View looking along an aisle flanked by columns. View looking along a narrow courtyard towards the entrance to one of the palace buildings.[Albumen print, signed 'Abdullah Fr�res' in the negative, 199x257mm]. View looking along a narrow street towards the synagogue. Built in 1568 and destroyed by the Portuguese in 1662, the synagogue was reinstated by the Dutch.[Gelatin silver print, 78x98 mm]. View looking along an avenue in the garden towards the tomb. View looking along an avenue of palms towards the main pagoda. View looking along an avenue of palms towards the Viceroy's Arch. View looking along a palm-shaded street towards the distant west gopura of the temple. Albumen print, 354 x 261 mm. View looking along a path towards a group of pagodas, with F.D. Stewart and B.T. Petley posed in front. For an enlarged copy of this print, see OIOC Photo 1038/1 (84).[Printing-out paper, 97x73mm]. View looking along arcade, with a row of massive squat pillars on the left: 'The only part of the mosque still covered by domes is that portion of the north-west cloister containing the Badshah ka Takht or King's Throne. This consists of a stone platform eight feet from the ground, supported by three rows of massive hornblende pillars, twenty-one in number...' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 111).[Woodburytype, 236x185mm]. View looking along arcade. View looking along arcade towards the doorway. View looking along arched colonnade. View looking along arched corridor. See note at print 5.[Woodburytype, 176x176mm]. View looking along a road to a triple-arched gateway. View looking along a row of fat, lathe-turned columns in the mandapa towards the doorway of the shrine. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1363). View looking along a street of thatched huts towards the temple. Briefly mentioned in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), p. 91: 'In the one street of Painam is a modern and very ugly temple of Shiva, ornamented with numerous pinnacles.' India Museum no. 815. Duplicate of Photo 1000 (2735). View looking along a street towards the building. View looking along a street towards towards the southern gopura of the Minakshi Sundareshvara Temple. Duplicate (later printing) of Photo 1000 (2940). Another copy at Photo 212/1 (41). View looking along a stretch of the river towards the collection of tombs. 'Rohri, unlike busy Sukkur, has a sleepy old-worl air about it.Little or no external trade is carried on. The river craft glide past it with the current to load and unload at Sukkur opposite...But it is an old place and signs of its antiquity are found in and around the town...With the thick groves of palms along the river below the town, these rugged hills, surmounted in many cases with old ruined tombs, and backed by the river and the bridge, give the place a picturesque aspect. Upon one of these [hills], whose base is washed by the river, is a levelled platform containing a great number of graves most of them being covered with carved grave stones after the fashion of those on the Makli Hill at Tatta...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, pp. 7-8). View looking along a tree-lined path towards an unidentified lighthouse. View looking along avenue towards pavilion. View looking along a verandah of the hospital, with beds laid out in a single row.[Albumen print, 373x305mm]. View looking along a water channel in the garden, with fountains, towards the hindola or swing. View looking along bridge towards Salimgarh. View looking along centre aisle towards the monolithic stupa at the far end. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2074). View looking along Chandni Chauk towards the clocktower.[Silver printing-out paper, 107x154mm]. View looking along columned fa�ade. View looking along columned fa�ade. View looking along drain, with portion of Iltutmish's Tomb at left. View looking along driveway towards main entrance.[Printing-out paper, 251x197mm]. View looking along driveway towards the hotel.[Gelatin silver print, 55 X 61 mm]. View looking along driveway towards the house. Two tame markhor stand on the flat roof of the building. Open-topped car and servants at left. Poor quality print. View looking along dry stream bed. View looking along edge of tank towards unidentified buildinga. View looking along enfilade of groined arches. View looking along excavated trench.[Gelatin silver print, 198x150mm]. View looking along excavated trench. Reproduced in photogravure in Vincent A. Smith, 'The Jain Stupa and other antiquities of Mathura' (Allahabad, 1901), pl. 2, where Smith comments that the photograph, 'in the absence of explanatory notes recorded at the time, is ... unsatisfactory...and I am unable to give the needed explanations.' Bloch comments: 'The excavations were carried on by Dr Burgess in January 1888, and by Dr F�hrer in January 1889...Most of the sculptures shown in the above plates come from this mound.' View looking along excavated wall. View looking along facade, showing row of attached columns. Duplicate at Photo 1008/9 (2649).[152x202mm]. View looking along facade of unidentified structure.[78x104mm]. View looking along facade towards corner tower.[Albumen print, 168x218mm]. View looking along fa�ade, showing carved work. View looking along fa�ade, showing detail of moulding. View looking along fa�ade, showing moulding detail. View looking along fa�ade, showing moulding details. View looking along fa�ade, with shopkeepers' stalls in foreground. View looking along fa�ade, with stone temple car in centre. The central portion of the double curved eave has collapsed. View looking along fa�ade from street.[Albumen print, 384x306mm]. View looking along fa�ade of building. View looking along fa�ade of Lankeshvara Shrine. View looking along fa�ade of pierced stone screens. View looking along fa�ade of temple. View looking along fa�ade of temple building. View looking along fa�ade of tomb towards the arched entrance gateway. Constructed in stucco over brick, the small building has a curved Bengali ('do-chala') roof with curved eaves: 'This may be the first extant example of such a roof, later to gain considerable popularity in imperial Mughal architecture both inside and outside Bengal.' Catherine B. Asher in George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 83).[Woodburytype, 236x186mm]. View looking along fa�ade towards entrance.[Gelatin silver print, 206x153mm]. View looking along fa�ade towards entrance gateway and porch. India Museum no. 511(b). Duplicate of Photo 1000 (2403). View looking along fa�ade towards the Alai Darwaza, with the base of the Qutb Minar in the left background.[Gelatin silver print, 203x149mm]. View looking along flight of steps leading towards the rock.[Gelatin silver print, 80x55mm]. View looking along formal avenue and pool towards pavilion. View looking along front of house. Stereoscopic print.[Silver printing-out paper, 157x98mm]. View looking along gallery. Print in poor condition, with overall spotting and some fading.[Albumen print, 380x305mm]. View looking along hillside towards garnary, with a temple beyond. View looking along hillside towards the bungalow (somewhat distant). View looking along hillside towards the cave entrance. View looking along interior of colonnade. Graffitti on one of the pillars is dated 1890.[Albumen print, 168x227mm]. View looking along interior of smithery.[Albumen print, 378x312mm]. View looking along line of carved pillars. View looking along line of excavation. The tomb itslef is not visible. View looking along lower portion of fa�ade. View looking along main avenue towards the entrance. View looking along moat, showing fort walll and bastions. View looking along moat and showing a series of bastions. View looking along moat of ruined fort.[Albumen print, 199x131mm]. View looking along nave towards altar. This photograph was reproduced in The Graphic of 29 March 1902, and there credited to Mackay. View looking along nave towards choir.[Albumen print, signed 'Townshend Phot.' in the negative, 214x275mm]. View looking along nave towards choir and altar. View looking along outer enclosure wall, with spiral minar beyond. View looking along outer wall towards castle. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 212. View looking along partially collapsed arcade. View looking along part of the town walls. View looking along path towards a substantial complex of bungalows. View looking along path towards bungalow. View looking along path towards dak bungalow in right background. View looking along path towards ruins, largely obscured by vegetation. View looking along path towards thatched bungalow raised on piles.[Printing-out paper, 96x72mm]. View looking along pathway towards entrance, with triple towers beyond.[Albumen print, 229x168mm]. View looking along pathway towards flight of steps, with the stupa beyond.[?Matt collodion printing-out paper, 283x206mm]. View looking along pathway towards the main gateway of the fort. A faded print. View looking along pilastered fa�ade of the Raya Gopura, with houses built close to the wall so that only a narrow alley separates the two. View looking along Queen's Road towards the Town Hall (City Hall), with part of Beaconsfield Arcade visible on the right. View looking along railway line towards mound. View looking along right colonnade from gallery.[Albumen print, 383x308mm]. View lookingalong riverbank towards Dashashvamedha's Ghat, with Ahalya Bai's Ghat beyond.[Printing-out paper, 198x151mm]. View looking along river bank towards the listing octagonal brick-built tower at the water's edge, with a local boat moored in the foreground.[Albumen print, 272x203mm]. View looking along road through gorge. View looking along road towards bungalow with corrugated-iron roof. View looking along road towards gateway in the form of a chorten or stupa. View looking along road towards house, with unidentified figure standing in foreground.[Albumen print, 111x129mm]. View looking along roadway, with a villa in the left foreground.[Albumen print, 325x260mm]. View looking along roadway lined with traders' stalls towards the entrance to the wooden temple. With a stone chinthe to the left of the building. Letterpress continues: 'One of the most frequented of the Amerapoora temples. The approach is a perfect bazaar. Inside the gate there is a gallery erected by a former king for [?from] inscribed stones collected from Tsagain, Pugahm, San-ku, and other places'. View looking along roadway towards arched gateway, with thatched huts lining the street in the foreground: 'The Katrah or Fort Gate stands near the river, and leads to a strong enclosure, which appears, of late years, to have been use as a Sarai or resting place for travellers. It is said to have answered formerly as a place of safety for valuable merchandise landed at Old Maldah, and intended for transmission to the Court at Panduah. Towards the south end of the city there are the ruins of a second gateway, which appears of much more modern construction than the Fort Gate.'[Woodburytype, 236x185mm]. View looking along roadway towards break in wall at position of gatewy. View looking along roadway towards mosque. The building is largely obscured by trees in the foreground. Print in poorish condition, with overall spotting.[Albumen print, 308x372mm]. View looking along roadway towards the Dekyilingka, the residence of the British Mission at Lhasa. The buildings are situated to the south-west of the Potala, which can be seen in the background of this photograph. View looking along roadway towards the gate.[Gelatin silver print, 286x237mm]. View looking along roadway towards the Naqqar Khana, with the Chand Minar beyond.[Gelatin silver print, 235x283mm]. View looking along roadway which passes through a gate in the form of a chorten or stupa. See note at print 36.[Gelatin silver print, 92x141mm]. View looking along rowa of sculptures.[Albumen print, 168x229mm]. View looking along row of carved pillars. View looking along row of sculptured columns towards the doorway of the shrine. India Museum no. 80. Duplicate of Photo 1000 (2074a). View looking along section of gopura wall showing evidence of subsidence in the masonry walls between the carved pilasters. View looking along side of building, showing machinery. Print in poor condition, overall yellowing.[Printing-out paper, 321x257mm]. View looking along side of tanks, with sluices in foreground and the back of the Jami Masjid beyond. View looking along street lined with commercial premises, including Favre Brothers (jewellers and watch-makers) and the Bombay Times and Standard office in foreground.[Albumen print, 237x184mm]. View looking along street towards arched brick gateway (see note at print 24).[Woodburytype, 235x183mm]. View looking along street towards arched entrance passageway. View looking along street towards entrance gateway. View looking along street towards gateway. 'On the roof are blue, earthenware tiles which are said never to have been repainted since they were made. Chaityas of Indian pattern on roof, also gilt finials, with an ornament called gen-chi in the centre of them. Houses, shops and cattle in foreground. Chinese inscription near top of gateway.' View looking along street towards gateway. Faded print.[Silver printing-out paper, 140x76mm]. View looking along street towards gateway through city wall.[Gelatin silver print, 78x58mm]. View looking along street towards municipal building.[Albumen print, 379x310mm]. View looking along street towards temple.[Lantern slide, 75X75 mm]. View looking along street towards the gopura of the large Shiva Temple, according to the caption also called the Vedagireshvara Temple. View looking along Tank Square to St Andrew's Church. View looking along templ colonnade. View looking along temple fa�ade. View looking along the aisles, showing prayer niches in the walls. The floor of the Ladies' Gallery has collapsed, giving a view onto the floor below. View looking along the aisle towards the chancel. View looking along the aisle towards the votive stupa, which has an image of the standing Buddha carved in relief in a niche on the face. Stereoscopic views. Duplicate (later printing) of Photo 1000 (2087). View looking along the aisle towards the votive stupa and seated Buddha image. This small stereoscopic size print is reproduced as a woodcut in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), p. 10. View looking along the arcade, showing sculptural detail of supporting columns, the two in the foreground carved with yali figures.. View looking along the arcade. Print in poorish condition, with overall spotting.[Albumen print, 305x371mm]. View looking along the arched colonnade. View looking along the avenue from the south entrance towards the Taj Mahal. Negative marked up for cropping. Original and duplicate negatives only, no print. View looking along the bank of the Betwa River towards the cenotaphs of the Bundela chiefs and their ranis. The most distant is the massive uncompleted mausoleum of Birsing Deo (ruled 1605-27). The remaining cenotaphs are those of Bharti Chand (1531-54), Madhukar Sah (1554-92), Pahar Singh (1641-53) and Sanwant Singh (1752-65). Duplicate at Photo 2/4 (57). View looking along the bank of the Jhelum towards the Lal Mundi Palace.[Silver printing-out paper, 102x75mm]. View looking along the bank of the Jumna towards the Taj Mahal. View looking along the base of the wall, showing craved figures and and pilasters; with an Indian figure seated at the right to indicate scale. Duplicate (later printing) of Photo 1000 (3140). Another copy at Photo 212/7 (2).Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. View looking along the beach towards the lifeboat sheds, with houses on the hill behind.[Printing-out paper, 310x254mm]. View looking along the body of the church, filled with stacked rifles. The nave and apse of Ayairene with the armory collection.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x199mm]. View looking along the body of the church from the choir.[Albumen print, 173x235mm]. View looking along the Bosphorus frontage of the military academy.[Printing-out paper, 250x198mm]. View looking along the Bosphorus waterfront towards the Mecidiye Cami at Ortak�y. The mosque is partially obscured by the sails of boats moored in the foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 253x200mm]. View looking along the bow-fronted section of verandah in the centre of the building, with the main flight of steps leading off to the right. The verandah is supported on coupled Ionic columns. View looking along the box girder railway bridge. View looking along the building, in mixed Indo- European style. Caption notes read: 'A picturesque two-storeyed ranged of bazaars, extending over a length of 1,050 feet, named after His Excellency Lord Lansdowne, Governor-General and Viceroy, to commemorate his visit to Mysore in 1892.' View looking along the building.[Printing-out paper, 251x198mm]. View looking along the canal towards the regulator. View looking along the central aisle towards the votive stupa. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2076). View looking along the central body of the church, seen in use as an armoury and filled with stacked rifles. The nave and apse of Ayairene with the armory collection.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x198mm]. View looking along the central marble pool in the garden towards the main building.[Albumen print, 226x186mm]. View looking along the chaitya hall towards the massive figure of Buddha carved on the front of the votive stupa. View looking along the choir towards the altar. View looking along the colonnade, towards three vahanas or vehicles of the gods, for carrying during festivals. Seen here are an elephant, a horse and a (?)boar. View looking along the colonnade, with a row of ablution fountains in front.[Albumen print, 325x261mm]. View looking along the colonnade containing 44 seated Buddha images in niches. View looking along the colonnade in the Onhmin Thonza Pagoda at Sagaing, showing the row of seated Buddha images in niches.[Printing-out paper, 115x89mm]. View looking along the colonnade of carved pillars from the Hindu temple incorporated into the Quwwat-ul-Islam Mosque.[Woodburytype, 175x146mm]. View looking along the colonnade running along the southern wall of the tuk. View looking along the columned fa�ade of the mandapa. View looking along the columned interior. View looking along the columns of the massive arcade also seen in prints 2967-2968. Duplicate (later printing) of Photo 1000 (2970). Another copy at Photo 212/2 (30). View looking along the corridor, with a receding vista of carved columns. View looking along the corridor lined with sculptured and painted pillars, with wooden double doors at the far end. Credited to Cole in Bloch's list, but almost certainly the work of a commercial photographer, the most likely candidate being Nicholas & Co., whom Cole also employed to photograph at Madurai View looking along the corridor lined with sculptured and painted pillars, with wooden double doors at the far end. Credited to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly the work of a commercial photographer, the most likely candidate being Nicholas and Co. of Madras, whom Cole also employed to photograph at Madurai. View looking along the courtyard towards the main building, with students' cells on either side. The accompanying letterpress caption note reads: 'No. 319. The Examination Hall or Koong Yuin, as it is called, at Canton contains 7500 celles, measuring four feet by three, and high enough to stand up in; the furniture consists of two boards, one for sitting, and the other contrived to serve both for an eating table and writing desk. The cells are arranged around a number of open Courts, receiving all their light and air from the central area and exposed to the observation of the soldiers who guard the place, and watch that no one has the least intercourse with the imprisoned students. Confinement in this cramped position, where it is impossible to lie down, is exceedingly irksome, and is said to cause the death of many old syudents, who are unable to go through the fatigue, but who still enter the arena in hopes of at last succeeding. The characters on each of the cells indicate the particular place for each student.'[Albumen print, 278x212mm]. View looking along the crowded street towards the city gateway. View looking along the cyclopean walls of the fort, built in a series of terraces up to the summit. Albumen print, 370 x 301 mm. View looking along the dining room, with trophy heads and skins lining the wall and the table laid for dinner. Second copy neg at B.3834. View looking along the double row of mandapa columns towards the temple entrance, with a nandi in front of the doorway. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1283). View looking along the double row of mandapa columns towards the temple entrance, with a nandi in front of the doorway. View looking along the drive. Smaller duplicate print at Photo 806/4 (96). View looking along the drive to the porte-cochere. View looking along the drive towards the porte-coch�re. Little of the building itself is visible. View looking along the driveway towards the church View looking along the driveway towards the porte-coch�re. View looking along the driveway towards the porte-coch�re of the substantial house.[Albumen print, 204x154mm]. View looking along the durbar hall towards the throne. Caption notes read: 'The hall is used on all minor festive occasions for holding durbars, and, during the ten days devoted to the Dasara feast, the Goddess Chamundi is installed here and daily worship offered.' View looking along the durbar hall towards the two thrones at the far end. View looking along the eastern (outer) wall of the Khas Mahal towards the octagonal pavilion tower of the Mussaman Burj. View looking along the east side of the tank towards the mosque. View looking along the enclosed and timbered verandah.[Silver printing-out paper, 207x144mm]. View looking along the enfilade of cusped arched in the hall of the Moti Masjid.[Albumen print, 82x96mm]. View looking along the excavated tank towards the far end, the sloping rock face of which has a central recess, with elephants carved in relief on either side.[Albumen print, 202x140mm]. View looking along the exterior wall of the fort on the river side, with the Khas Mahal on the left and Mussaman Burj jutting out in the centre. The two rail bridges over the Yamuna are visible in the distance. View looking along the exterior wall of the palace, with the Hathio Paur Gate in the foreground. Vignetting at corners of image. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. Although Bourne & Shepherd made a series of photographs of Gwalior for Cole, this photograph, with the tree still standing in front of the gateway, is an earlier image (see note in introduction). View looking along the facade towards a minaret. View looking along the fa�ade. Described in Rajendralala Mitra, The antiquities of Orissa (vol. II, Calcutta, 1880), pp. 71-72. View looking along the fa�ade. View looking along the fa�ade of one of the tannery buildings, a two storey structure, the upper half of wood.[Printing-out paper, 320x260mm]. View looking along the fa�ade of the Bara Sona Mosque (Golden Mosque). 'On some raised ground immediately to the south of Ramkel stands the Baradiwari, or Great Golden Mosque, perhaps the finest memorial of Guar. An arched corridor running along the whole front of the original building is the principal portion now standing. It is faced throughout with large blocks of black hornblende, and measures 180 feet in length by 80 in breadth. There are eleven arches on either side of the corridor, and one at each end of it, from which probably the Mosque has obtained the name of Baradiwari or 'the twelve doored'. These arches are surmounted by eleven domes in fair preservation. Of the rest of the building only the outer wall remains; two of the illustrations [see also print 6] give portions of the inner side of this wall where it joins the corridor at the north and south ends. The central space is covered with broken columns, large stones and masses of masonry overgrown with jungle...' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 66).[Woodburytype, 183x236mm]. View looking along the fa�ade of the building, from the roadway leading up to the palace.[Gelatin silver print, 92x140mm]. View looking along the fa�ade of the building.[Albumen print, 378x307mm]. View looking along the fa�ade of the building.[Printing-out paper, 197x251mm]. View looking along the fa�ade of the colonnaded corridor which runs to the gopura of the temple, showing the rear elevation of the first entrance gopura. Duplicate at ASS (180). View looking along the fa�ade of the colonnaded corridor which runs to the gopura of the temple, showing the rear elevation of the first entrance gopura. Duplicate at Photo 1008/1 (180). View looking along the fa�ade of the manadapa, showing the columns ornately carved into representations of rearing horses. Photograph uncredited, but probably G.W. Lawrie.[Gelatin silver print, 289x237mm]. View looking along the fa�ade of the mandapa, showing the columns carved in the form of rearing horses with the riders spearing animals. View looking along the fa�ade of the mandapa, with its piers carved in the form of rearing horses. A later (1880s?) print from a photograph taken by Bourne in 1869. View looking along the fa�ade of the mandapa, with pillars carved in the formed of rearing horses and other creatures. Albumen print, 368 x 236 mm. View looking along the fa�ade of the mandapa, with the tower of the main shrine partly visible in the background. See J.D. Beglar, Report of tours in the south-eastern provinces in 1874-75 and 1875-75 (A.S.I. vol. XIII, Calcutta, 1882), pp. 102-103: 'The principal temple in the place is within a high walled court-yard on the edge of a deep small dirty pool of water...The temple is built in muchthe same style as the one at Chandeswar, but the Mahamandapa is certainly either an altogether late adition or has been built to replace the original one which tumbled down; it is, looking from the outside, a plain long dark hall with few mouldings and no sculpture, and thickly plastered over; the confined space of the court-yard prevented a proper photograph being taken from the interior, while the height of the inclosure walls prevented a similar attempt from the outside.' View looking along the fa�ade of the mandapa towards the domed tower of the vimana. A similar view to Photo 1008/8 (2130). View looking along the fa�ade of the mosque: 'At a distance of about two miles from the Eklakhi Mosque, on the east side of the main road, are the remains of the great Adinah Mosque. This is a quadrangular building, measuring 500 feet from north to south, and 300 from east to west. Though in a ruinous state, the original plan of the building is still traceable, and shows it to have consisted of a series of cloisters opening towards an inner court...The whole length of this [outer] wall is faced with black hornblende, of which large blocks also line the sides of the entrance to the interior of the mosque. Except by this entrance, which has the appearance of being a mere slit in the wall some three feet in width, the visitor has no means of access to the inner quadrangle...' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 109-11).[Woodburytype, 240x181mm]. View looking along the fa�ade of the palace building.[Albumen print, 258x201mm]. View looking along the fa�ade of the Potala.[Gelatin silver print, 92x141mm]. View looking along the fa�ade of the sanctuary, showing sculptural detail. View looking along the fa�ade of the sanctuary (with sculpture of Ganesha in niche in foreground) towards the mandapa. Name of temple spelt 'I�ane�vara' in caption. View looking along the fa�ades of the southernmost group of caves. Photo 1000 (864) is a platinum print from the same negative. View looking along the fa�ades of the southernmost group of caves. Photo 1000 (866) is a platinum print from the same negative. View looking along the fa�ades of the southernmost group of caves (Caves II-V). Reproduced as a woodcut in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), p. 5. Photo 1000/8 (865) is a platinum print from the same negative. View looking along the fort moat at the harbour face, with houses at the right.[Albumen print, 228x181mm]. View looking along the fort wall and moat, towards tents pitched on the Esplanade beyond.[Albumen print, 233x184mm]. View looking along the Galata Bridge towards the mosque. Print in poor condition, with overall spotting.[Albumen print, 304x370mm]. View looking along the galleries and down into the well. 'It is of the usual step-well type, descending from the entrance by flights of steps from storey to storey. It is a strong substantial piece of work, complete in all its parts...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1899, p. 5). View looking along the Ganges riverbank towards Aurangzeb's Mosque, with ghats in the foreground.[Albumen print, 83x97mm]. View looking along the garden and pool towards the entrance archway. View looking along the garden towards the south facade of the Taj.[Printing-out paper, 206x152mm]. View looking along the garden towards the south face of the Taj.[Developing-out paper, 287x245mm]. View looking along the garden towards the Taj.[Printing-out paper, numbered '10067' in the negative, 296x237mm]. View looking along the garden towards the Taj.[Silver printing-out paper, 289x206mm]. View looking along the garden towards the tomb. View looking along the Gogra riverbank towards the ghat and Gupta Temple.[Albumen print, 201x158mm]. View looking along the hall of the now roofless brick-built temple towards the huge standing Buddha image.[Albumen print, signed 'Lawton' in the negative, 286x218mm]. View looking along the hall towards two thrones, possibly at Cochin.[Gelatin silver print, 306x230mm]. View looking along the hillside towards the temple shikara and enclosing wall: 'The great temple of Sambhu Mahadeva is situated about three-quarters of a mile west of the village upon the highest point of the range and is a conspicuous object all around for many miles...The present temple...is a reconstruction of an older one, or rather a new building entirely erected upon the site of an older, the pillars, lintels, etc., of which lie about the hill. The columns of the present temple are copied from those of the older, but the work is not quite so good' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1898', p. 3).[Printing-out paper, 292x206mm]. View looking along the interior, showing carved columns. The roof has collapsed, and piles of masonry litter the floor. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1313). View looking along the interior, showing carved columns. The roof has collapsed, and piles of masonry litter the floor. View looking along the interior of the Burj-i-Shamali towards the river.[Lantern slide, 75X75 mm]. View looking along the interior of the mandapa, showing sculptures, with a number of figures (blurred) seated along the sides of the aisle. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View looking along the interior of the mandapa, showing sculptures, with a number of figures (blurred) seated along the sides of the aisle. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. View looking along the interior of the mandapa towards a small nandi. This mandapa is situated immediately inside the east gopura. Albumen print, 376 x 297 mm. View looking along the interior of the railway bridge. View looking along the Jhelum towards the palace.[Silver printing-out paper, 285x210mm]. View looking along the Jhelum towards the Raja's Palace on the far bank.[Silver printing-out paper, 100x76mm]. View looking along the Jhelum towards the Shah Hamadan Masjid, with the fort on Hari Parbat Hill visible in the background.[Silver printing-out paper, 103x76mm]. View looking along the lake shore towards thatched houses. A pencilled note on the reverse of the print refers to 'A weekend in the S. Shan States, by Ronald Sinclair', presumably a magazine article.[Gelatin silver print, 152x107mm]. View looking along the lake towards a small summerhouse and other buildings.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View looking along the lake towards the column and the main building. View looking along the length of the banqueting hall. View looking along the length of the dining table, in the State dining room.[Albumen print, 257x202mm]. View looking along the length of the hall towards the votive stupa, and showing the line of massive octagonal columns with richly-carved capitals of animals and human figures. View looking along the length of the hall towards the votive stupa, and showing the line of massive octagonal columns with richly-carved capitals of animals and human figures. View looking along the length of the interior of the hall, with decorations in the form of armorial shields, curtains and trophies, put up in honour of the Prince of Wales's vsit.[Albumen print, 135x98mm]. View looking along the length of the pillared arcade, with a Cambodian figure seated half-way along the colonnade to indicate scale. This is the interior of the western gallery seen in print 3.'From this photograph, taken in connection with the exterior represented in the preceding one, a general idea may be formed of the construction of the lowest galleries of Nakhon Wat. The mechanical arrangements of the galleries or colonnades are as perfect as their design is artistic. On the left side is a solid wall of the most exquisite masonry, where the stones are fitted together without mortar or cement of any kind, and this is a characteristic of the entire building...The rows of pillars on the right are removed from the back wall a distance of 10 feet 6 inches. The pillars have no bases, but are adorned with the figure of a devotee in the attitude of worship. Above this figure, and running along the edge of the shaft, is a delicately cut ornament; the pillars carry an architrave, and a deep frieze, and cornice. Above the cornice is pointed arch formed by corbeling. This arch I believe to have been originally concealed by a richly-carved wooden ceiling, a fragment of which I discovered still in its place, in an obscure part of the temple. Outside this gallery is a second, supported by the short pillars shewn in the exterior view. This outer range supports what Fergusson terms a tie-beam. One end of this beam is inserted into the inner column just below the capital, so beautifully that M. Mouhot asserts the inner columns are monoliths. The joints will be detected by a careful examination of the photograph.'('Description of the Photographs', p. 33).[Albumen print, signed 'J. Thomson' in the negative, 187x232mm]. View looking along the length of the ward, with patients seated on the two rows of beds on either side.[Albumen print, 387x310mm]. View looking along the line of arches, partly covered in vegetation.[Woodburtype, 237x183mm]. View looking along the line of carved pillars in the courtyard of the Jahangiri Mahal.[Developing-out paper, 245x293mm]. View looking along the line of the Buddha images inside the crescent-shaped interior of the temple.[99x74mm]. View looking along the line of the excavated wall. View looking along the main entrance roadway, towards the statues of Queen Victoria and (in the distance) Lord Curzon.[Platinum print.] View looking along the main fa�ade of the palace building.[Albumen print, signed 'Abdullah Fr�res' in the negative, 253x199mm]. View looking along the main street towards the Palace and Fort: 'The principal bazaar is a very picturesque street, and leads directly to the palace gate. The view embraces a part of this street and a portion of the palace, but the latter is better seen from other points, whence it appears lying higher up on the hill...' Photograph by Colin Murray for Bourne and Shepherd. View looking along the massive colonnade. 'This arcade is immediately in front of the Sessions Court and forms an entrance to it. The pillars on the left are the first of three lines of columns supporting an elevated cloister which surrounds the Quadrangle...' Albumen print, 266 x 316 mm. View looking along the moat, with the walls and bastions of the fort at the right. Handwritten note on mount identifies 'Fortified Hills' and 'Hill Bungalow and Fort' in the distance, and the temple goparam within the fort. View looking along the mosque facade. From south-east. View looking along the nave towards the chancel. View looking along the open space, with the north gopura on the left and the Thousand-Pillared mandapa on the right. Two temple cars stand in the middleground. The sky has been painted in on the negative. Albumen print, 368 x 225 mm. View looking along the ornamental pool towards the imambara.[Albumen print, 83x95mm]. View looking along the outer colonnade on the western side towards the central entrance.'This view shews a portion of the western gallery as it rises from the richly sculptured socle or platform. The great western entrance occupies the centre of the picture, and is shewn in profile. Two of the stone lions, common to many of the entrances of the temple, may be seen facing one of the minor gateways of this gallery. The outer galleries are removed back from the extreme edge of the socle, leaving the margin (seen on the right of the photograph) nearly broad enough for a carriage drive, and paved with huge blocks of freestone. Rising above this, to the base of the outer pillars, are a series of beads richly ornamented with roses and arabesques. The ornament above the double bead of the architrave consists of countless representations of a seven-headed snake...'('Description of the Photographs', p. 29).[Albumen print, 187x230mm]. View looking along the outer walls of the fortified city, with moat in foreground.[151x104mm]. View looking along the Paro Chu towards Paro Dzong, with the bridge across the river on the left. View looking along the path between the two rows of stalls in which candidates for the civil service took their examinations. View looking along the pathway up the hillside. View looking along the paved court, with the outer colonnade at the right, and the temple vimana on the left. Albumen print, 270 x 354 mm. View looking along the pitched roof towards the temple tower. View looking along the pool of the central avenue towards the Taj. View looking along the railway line across the river. See also print 9.[Albumen print, 294x209mm]. View looking along the raised terrace towards the entrance.[Albumen print, signed 'Rust 17' in the negative, 274x219mm]. View looking along the ramparts of the fort towards Chandragiri Hill. View looking along the ramparts towards the pagoda. Letterpress continues: 'Five Storey Pagoda. - During the war the Artillery Garrison was stationed here. - The wall is eight feet wide, - in the small sheds along the wall are placed heavy cannon - in the distance are the White Cloud Mountains.' View looking along the ramparts towards the Sat Manzil or Seven-storeyed Palace. View looking along the range of buildings.[Albumen print, 325x253mm]. View looking along the range of buildings.[Printing-out paper, 311x253mm]. View looking along the range of buildings. Caption notes read: 'This portion of the palace, which was rebuilt in the Indo-Saracenic style in 1895, was also burned down with all its treasures of pictures of the Krishna Wodeyar period which consisted principally of officers connected with Mysore, painted by European artists, in the fire of 1897; the walls, columns, and iron girders alone remaining. It is being restored.' View looking along the range of government buildings.[Albumen prints, 327x251mm]. View looking along the richly-carved and painted Chokkattam Corridor of the Ramalingeshvara Temple. '...The length of the passage to the door in front, which is that of the sanctuary, is about 390 feet, the width being about 20 feet; the figures carved on the pillars being those of the Rajahs of Ramnad on the right, and their private secretaries facing them on the left'. Duplicate (later printing) of Photo 1000 (3004). Another copy at Photo 212/3 (25). View looking along the ridge, with a raised flight of steps leading to the temple enclosures which stand on two of the summits.[?Collodion printing-out paper, 206x154mm]. View looking along the river at the ghat, with Aurangzeb's Mosque in the background. 'This Ghat was formerly dedicated to the God Madhava whose temple was razed to the ground by Aurangzeb.'[Albumen print, 279x213mm]. View looking along the river bank, with sampans moored in front of a waterside village, and a pagoda complex on the small headland beyond.[Albumen print, 135x67mm]. View looking along the riverbank and showing Asi and other ghats and asscoaited buildings. 'This is one of the five celebrated places of pilgrimage in Benares. The spot is also called Asi Sangam from the confluence of a pretty [?petty] stream Asi with the Ganges. A grand Mela of Asnan Jattra is held here at the temple of Jagannath on the 15th day of Jeth.'[Albumen print, 275x215mm]. View looking along the riverbank towards the ghat, with a temple tower at the right. 'From time immemorial, numbers of Gows or Cows used to come and dringk water at this spot; in honor of the Cows (which are held sacred by the Hindus), a huge stone cow erected on the spot perpetuates the name. The Ghat itself is jutting out a little beyond the banks.' The Nandi can be seen on the flight of steps leading down to the ghat.[Albumen print, 277x214mm]. View looking along the river bank towards the ghat. Inscribed in pencil on the reverse: '350 Suttee Choura Ghat. The scene of the Massacre (Cawnpore). The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'W. Baker 350' in the negative, 203x136mm]. View looking along the riverbank towards the monastery buildings. View looking along the riverbank towards the two ghats, with the Nepalese temple beyond. 'Meer Ghat was built by a wealthy Mahommedan named, Rustam Ali Khan, Nazim of Benares. It is now under the possession of His Highness the Maharaja of Benares and is in a decayed condition. The Napalee's Temple, popularly called Napaly Khapra, rising from the banks of the river is a strikinglyicturesque object. In its external appearance, it is altogether unlike the temples erected by the Hindus.'[Albumen print, 277x214mm]. View looking along the rivere towards the suspension bridge, with a church tower beyond.[Albumen print, 272x171mm]. View looking along the river towards Ghosla Ghat.[Printing-out paper, 197x151mm]. View looking along the river towards the bridge, a covered structure, with stone gatehouses at either end. View looking along the river towards the bridge, with coal trolleys crossing. With mine buildings and houses of the town in the background.[Printing-out paper, 306x241mm]. View looking along the river towards the bridge under construction.[Albumen print, numbered '38' and dated '27.10.88' in the negative, 289x235mm]. View looking along the road section of the combined road and railway bridge, location unknown, but probably across the Indus. This appears to be the same structure see in prints 21 and 51. View looking along the road towards the clubhouse, a long two-storey building at the summit of of the hill.[Silver printing-out paper, 146x93mm]. View looking along the road towards the gate of the palace.[Gelatin silver print, 150x204mm]. View looking along the road towards the Kyaik-Than-Lan Pagoda. Duplicate at Photo 752/10 (34), credited to Klier in the negative. View looking along the road towards the substantial two storey house.[Albumen print, 276x211mm]. View looking along the road towards the verandahed building.[Silver printing-out paper, 102x75mm]. View looking along the roadway towards the gate.[Silver printing-out paper, 149x102mm]. View looking along the roadway towards the gateway in the old citadel.. View looking along the roadway towards the gateway in the old citadel.. View looking along the roadway towards the Golden Horn, with the fountain on the left and the mausoleum of Husrev Pasha on the right.[Albumen print, 328x262mm]. View looking along the roadway towards the grilled fountain of the Valide Sultan Mihrisah Complex, also seen in print 26.[Albumen print, 324x262mm]. View looking along the room. View looking along the row of massive pillars. View looking along the row of pillars richly carved in the form of rearing horses, on the fa�ade of the mandapa. Photograph credited to H. H. Cole in Bloch's list. However, the print is reproduced in photogravure in Cole's 'Preservation of National Monuments in India' (vol II, (?)Calcutta, c. 1884), part 9, Temples at Trichinopoly, pl. ix, and is there credited to Nicholas and Co. of Madras. View looking along the row of pillars richly carved in the form of rearing horses, on the fa�ade of the mandapa. Photograph credited to H.H. Cole in Bloch's list. However, the print is reproduced in photogravure in Cole's Preservation of National Monuments in India (vol II, (?)Calcutta, c. 1884), part 9, Temples at Trichinopoly, pl. ix, and is there credited to Nicholas & Co. View looking along the ruined ramparts. View looking along the screen of arches. View looking along the screen of cusped arches on the west front of the Khas Mahal overlooking the Anguri Bagh. A pencilled note at the side of the print reads: 'This ceiling was formerly of wood; when the roof was renewed with iron joists the old ceiling was not replaced.' View looking along the shore of the lake towards the fort. View looking along the side of the house, with two unidentified European men posed on the verandah.[Albumen print, oval image, 257x205mm]. View looking along the side of the masonry bridge, with the rock visible on the skyline in the distance. Albumen print, somewhat yellowed, 381 x 262 mm. View looking along the side of the tank towards the gopura of the Kumbheshvara Temple. Duplicate at Photo 1008/1 (191). View looking along the south face of the Mahamandapa, towards the free-standing column. With the Ramayana frieze in the middleground. View looking along the street towards the east gate of the temple complex. View looking along the street towards the entrance gopura of the Shiva Temple. Clouds painted in on negative. Albumen print, 362 x 274 mm. View looking along the street towards the gopura, with an open-sided mandapa in the foreground. This gopura is also seen in Photo 212/1 (13). This gopura stands inside the main east entrance to the temple complex. Photograph attributed to H.H. Cole in Bloch's list, but almost certainly one of the series of views taken for Cole by Nicholas & Co. View looking along the street towards the gopura, with an open-sided mandapa in the foreground. This gopura is also seen in Photo 212/1 (13). This gopura stands inside the main east entrance to the temple complex. Photograph attributed to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly one of the series of views taken for Cole by Nicholas and Co. of Madras. View looking along the street towards the gopura, with thatched houses and shops on either side in the foreground. Duplicate at ASS (193). View looking along the street towards the gopura, with thatched houses and shops on either side in the foreground. Duplicate at Photo 1008/1 (193). View looking along the street towards the gopura. Duplicate, in very poor condition, at Photo 1008/1 (183). View looking along the street towards the gopura. Duplicate at ASS (183). View looking along the street towards the gopura. Duplicate at ASS (189). View looking along the street towards the Grand Oriental Hotel, with an arcade of commercial premises in the foreground. Photograph uncredited, but probably by Scowen & Co. View looking along the street towards the Husainabad Gateway, the outer gateway of the Husainabad Imambara, with traders on either side of the road in the foreground. Inscribed in pencil on reverse: '337. Gateway of the Hooseinabad Bazaar (Lucknow)'. The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, numbered '337' in the negative, 213x160mm]. View looking along the street towards the temple gopura. Bloch's list incorrectly records this as 'west gopura, view from outside'. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View looking along the street towards the temple gopura. T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), incorrectly records this as 'west gopura, view from outside'. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View looking along the street towards the tower and cupola of the Devi Vasrejri Temple. View looking along the street towards the west gopura of the Minakshi Sundareshvara Temple. The entrance through the gopura has been bricked up. Duplicate (later printing) of Photo 1000 (2941). Another copy at Photo 212/2 (1). View looking along the temple fa�ade. View looking along the Theodosian Walls. On the far distance, among the cypress trees, is an old graveyard.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x201mm]. View looking along the Theodosian Walls. On the far distance, the view of the Mihrimah Camii. An old graveyard among the dense cypress tress, on the top left corner.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x198mm]. View looking along the timbered dining room. Photograph probably taken soon after the building's completion in 1888.[Albumen print, 283x232mm]. View looking along the track towards the platform. Duplicate of Mss Eur F196/212 (11). View looking along the upper gallery of the church.[Albumen print, 259x199mm]. View looking along the upper gallery of the step-well, with women carrying water jars on their heads, posed in the foreground. The view looks from the richly-carved octagonal gallery along a receding vista. Photograph by Colin Murray for Bourne and Shepherd. View looking along the upper storey of a kiosk or pavilion in the Topkapi Palace, with a wooden balcony window in the foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 202x258mm]. View looking along the Valens Aqueduct from the base.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View looking along the vaulted interior. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cxi (a). View looking along the vaulted interior. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cxi (a). View looking along the vegetation covered wall: 'Within the Dakhil Gateway a vast scene of desolation confronts us. The entire enclosure is crowded with ruins of buildings, of which scarce one remains...In the south-west corner of the fort stood the palace, of which some of the walls still exist. They are 66 feet in height, and of great thickness, and were called Baisgaji (22 yards) in consequence. The space enclosed by these walls was 700 yards long by 250 wide...'[Woodburytype, 240x186mm]. View looking along the verandah, furnished with a portable bookcase and a large gramophone, with a figure in the background (Hinchcliffe?) reclining in a chair with leg-rests.[95x75mm]. View looking along the verandah, which is shaded by blinds hung between the pillars, and furnished with a table and chairs in the foreground. Taken during the period of Lord Lytton's viceroyalty. This photograph was probably taken on the same occasion as print 257 (ie 1877) and the print made in the early 1900s.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 281x201mm]. View looking along the verandah and central open hall, also seen in print 3096. Duplicate (later printing) of Photo 1000 (3097). Another copy at Photo 212/5 (43). View looking along the verandah of the Khas Mahal. View looking along the wall. Duplicate at Photo 3/2 (79). View looking along the wall of the Bala Hisar, bastions in foreground. View looking along the wall of the court, showing the 19th-century mosaics of peacocks belowand the glasswork of the Surya Prakash above. Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 2. View looking along the wall of the court, showing the 19th-century mosaics of peacocks belowand the glasswork of the Surya Prakash above. Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Palace at Udaipur in Meywar, Rajputana), pl. 2. View looking along the wall of the fort towards the burnt-out Residency. View looking along the walls of the Potala towards the countryside beyond. 'We have had a most interesting day visiting the Potala (Dalai Lama's Palace) and the Norbhu Lingka (Jewel Garden) the Dalai Lama's Summer Palace in a beautiful park a mile from the Potala.' (Lhasa Mission Diary, 6 September 1936).[Gelatin silver print, 92x141mm]. View looking along the walls of the town.[102x72mm]. View looking along the walls towards the entrance to Yedikule Castle.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View looking along the wall towards a group of chhatris. Original and duplicate negatives only, no print. View looking along the wall towards the bastions. View looking along the wall towards the domed Islamic tomb seen in prints 85 and 114. Innermost Asia, vol. 1, fig. 246: 'Western wall of Khara-khoto, with breaches due to wind-driven sand, near south-west corner.' (I.A. Map 45, D1). View looking along the water's edge towards the Marble Castle.[Albumen print, signed 'Abdullah Fr�res' in the negative, 201x257mm]. View looking along the water channel known as the Nahr-i-Bihisht (Stream of Paradise) towards the Khas Mahal. View looking along the water channel towards the Khas Mahal. View looking along the waterfront at Tarabya towards the villa (yali) of the British Ambassador.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. View looking along the west side of the tank, with a gopura in the background. A small portion of the north gopura can be seen in the background at the extreme right. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View looking along the west side of the tank, with a gopura in the background. A small portion of the north gopura can be seen in the background at the extreme right. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. View looking along trench and showing excavated portions of base of wall. View looking along trench towards the section of stone railing. View looking along two lines of machine-driven looms. Print in poorish condition, with overall spotting.[Albumen print, 381x311mm]. View looking along two rows of columns towards the doorway of the shrine, with the linga visible inside. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1366). View looking along two rows of columns towards the linga shrine. View looking along vaulted arcade. View looking along vaulted colonnade of arches. View looking along verandah. Poor quality negative only, no print. View looking along verandah and showing decorative work. View looking along wall, showing decayed state of brickwork. Duplicate at Photo 3/2 (56). View looking along wall, with exposed stratum at base.[Gelatin silver print, 134x83mm]. View looking along wall showing buttresses. View looking along walls towards entrance. View looking along wall towards baclony. View looking along wall towards gateway. See print 108 for a closer view of the gateway. View looking along west side of building.[Albumen print, 381x308mm]. View looking back from the temple towards the entrance gateway. View looking between the two rows of images. View looking between the wings towards the gatehouse.[Gelatin silver print, 291x221mm]. View looking between two rows of pillars towards the shrine.[Albumen prints, signed 'Lawton' in the negative, 282x317mm]. View looking chaitya hall at upper level and showing the vaulted ribs of the roof and the upper half of the votive stupa. View looking diagonally across the central tank from the west corner. View looking diagonally across the room. View looking directly across the river towards the Taj. View looking directly up towards dome. View looking directly up towards interior of dome. View looking directly up towards the corbelled dome of the richly-sculptured ceiling, at the apex of which is carved a dancing figure (Shiva?) within a square panel. View looking directly up towards the corbelled dome of the richly-sculptured ceiling, at the apex of which is carved a dancing figure (Shiva?) within a square panel. View looking directly upwards to carved interior of dome. Photographer's wet stamp on mount, 'Lala Deen Dayal, Photographer, Indore, C.I.' View looking directly upwards towards carved ceiling. View looking directly upwards towards centre of dome. View looking directly upwards towards mosaics of Joachim presenting Mary to the priests, in the vault of the first bay of the inner narthex. Print in poorish condition, with overall spotting.[Albumen print, 373x307mm]. View looking directly upwards towards the mosaics in the west dome of the Kariye Cami (formerly the Church of St Saviour in Chora). Some overall spotting on print.[Albumen print, 369x308mm]. View looking down a flight of steps towards a well. View looking down an avenue of arches. View looking down from an upper storey. View looking down from the heights, with a slightly distant view of the Chand Minar on the left, with the Jami Masjid to the right and a tank beyond.[Gelatin silver print, 286x232mm]. View looking down from the hillside behind the house. View looking down into and along moat.[Gelatin silver print, 239x284mm]. View looking down into courtyard from roof. From south-west. View looking down into excavated area.[Gelatin silver print, 152x203mm]. View looking down into excavated area along foundations of building. View looking down into excavated trench. View looking down into excavated trench. View looking down into excavated trench. View looking down into excavated trench. View looking down into the stable compound. View looking down into the step-well. View looking down into the step-well. View looking down into the well, with pumping work in progress. Explanatory note on the reverse of the print reads: 'Columns bases for the 8 columns are here shown in position on completion of the pumping operations shown in the previous two photos.'[Gelatin silver print, 288x238mm]. View looking down on the group of temples. The larger temple at the left is the Jageshvara Temple, that in the right background (with wooden platform on the tower) is the Mrityunjaya Temple. View looking down on the roof. From south-east. View looking down on the roof of the mosque. View looking down onto a doorway, with stone steps beyond, probably in the same site as print 1150-1151. Small format print. View looking down onto and across the dam View looking down onto an open area, enclosed by a semicular colonnade and wall. Duplicate at Photo 1008/9 (2339).[202x152mm]. View looking down onto buildings.[Silver printing-out paper, 103x75mm]. View looking down onto columned fa�ade of mandapa. Duplicate at Photo 3/2 (91). View looking down onto corrugated-iron sheds. Print in poor condition, overall fading and yellowing.[Printing-out paper, 302x259mm]. View looking down onto entrance to cave temple, much overgrown. View looking down onto excavated ruins. View looking down onto excavated stupa site and surrounding area. View looking down onto excavations at base of temple wall, with the remains of a seated Buddha image visible in the trench. View looking down onto gateway and partially collapsed wall. View looking down onto gateways. View looking down onto monastery buildings, with mountains beyond. View looking down onto monastery buildings. View looking down on to mosque roof. From south. Faded print. View looking down onto perimeter walls and fortifications.[Gelatin silver print, 286x227mm]. View looking down onto perimeter walls and fortifications.[Gelatin silver print, 286x233mm]. View looking down onto perimeter walls and fortifications.[Gelatin silver print, 286x236mm]. View looking down onto ponies and horses in the courtyard of the caravanserai.[Gelatin silver print, 102x78mm]. View looking down onto shrine, with shrine seen in print 2019 at the left. View looking down onto slab in excavated pit. View looking down onto stone buildings of the fort. Duplicate at Photo 1008/8 (2248).[199x153mm]. View looking down onto stupas, with Swat River in distance. View looking down onto tank. View looking down onto temple, with stambha and free-standing arch. Signed H.D. in the negative. India Museum no. 633. Duplicate of Photo 1000 (2576). View looking down onto temple.[?Collodion printing-out paper, 208x151mm]. View looking down onto temple complex. View looking down onto the 8th-9th century Vattuvan Kovil temple at Kalugumalai in the Tinnevelly (modern Tirunelveli) District, from the rock from which it was carved. View looking down onto the ambulatory path around the stupa base. View looking down onto the arched gateway. View looking down onto the Arunacheleshvara Temple complex at Tiruvannamalai. The print gives a clear view of the layout of the buildings and of the size of the gopuras. Print unsigned, but probably the photograph listed in the Nicholas & Co. catalogue (copy at Photo 745) as '2. The Temple, from the hill'. View looking down onto the bungalow (slightly distant), which can be identified by the notice in the foreground (where the name is spelt 'Rosenhiem').[Albumen print, 173x105mm]. View looking down onto the Burning Ghat. View looking down onto the caravanserai, the courtyard crowded with camels.[Gelatin silver print, 135x80mm]. View looking down onto the central arch of the screen. View looking down onto the church and cemetery, with the cantonment parade ground and race course beyond.[Albumen print, numbered '3691' in the negative, 277x204mm]. View looking down onto the circular tank, built in European style. View looking down onto the dam and reservoir.[Albumen print, 293x237mm]. View looking down onto the fort. View looking down onto the group of Jain temples south of the Virupaksha Temple. Photo 1000 (1062) is a reduced and cropped copy of this print. View looking down onto the guardhouse of the Topkapi Palace, with the entrance to the Golden Horn in the background. A slightly faded print.[Printing-out paper, 319x260mm]. View looking down onto the jail buildings, with the Ravi River beyond. View looking down onto the lake and bund, with the fort on the hillside beyond.[Printing-out paper, 282x206mm]. View looking down onto the line, with station buildings in the course of erection in the right foreground.[Albumen print, 288x207mm]. View looking down onto the main part of the Keshava Temple from the entrance gopura (east side). Duplicate at Photo 2/9 (37). View looking down onto the octagonal domed tomb of Suleyman I (the Magnificent), surrounded by gravestones in the grounds of the Suleymanie Cami (partially visible on the left). On the right, partly out of the picture, is the tomb of his wife Haseki Hurrem (Roxelana).[Albumen print, 311x261mm]. View looking down onto the pedestal, which has a tirthankara image on each of its four faces and stands in its find-spot in the excavated trench. View looking down onto the perimeter walls and fortifications.[Gelatin silver print, 283x234mm]. View looking down onto the prison house. Duplicates at Photo 1008/9 (2362) and Photo 3/1 (41).[202x153mm]. View looking down onto the prison house from above. View looking down onto the roof of the temple, where a man sits feeding a large group of monkeys.[Platinum print, 280x226mm]. View looking down onto the roofs of the buildings in the enclosure at the foot of the southern face of the Potala.[Gelatin silver print, 159x104mm]. View looking down onto the roofs of the shrines. View looking down onto the school buildings, with pupils posed on the croquet lawn and badminton courts in the foreground.[Albumen print, 238x169mm]. View looking down onto the seven-spanned stone bridge. View looking down onto the small palace from the upper storey of an adjoining building.[Gelatin silver print, 109x154mm]. View looking down onto the standing walls of houses. View looking down onto the statue of Lord Curzon (rear view) with Mackennal's Edward VII Memorial in the form of a triumphal archway in the distance.[Platinum print.] View looking down onto the structure, carved from the solid rock, with dense jungle beyond.[Gelatin silver print, 80x55mm]. View looking down onto the swastika, with an Indian man posed in the pit beside the swastika to indicate scale. Some crazing on negative emulsion. View looking down onto the swastika, with an Indian man posed in the pit beside the swastika to indicate scale. Some crazing on negative emulsion. View looking down onto the temple complex with its high perimeter wall. The large south gopura is on the far side. A dark, poor quality print. View looking down onto the temple complex with its high perimeter wall. The large south gopura is on the far side. A dark, poor quality print. View looking down onto the temple from adjoining rising ground. View looking down onto the thatched houses of the village.[Printing-out paper, 996x71mm].mm]. View looking down onto the tomb, with the tank to the left. View looking down onto the town and surrounding countryside. The large Shiva Temple can be seen in the middleground: according to the caption of print 1368D this is also known as the Vedagireshvara Temple View looking down onto the wall from a higher position on the hillside. Duplicate of Photo 1008/9 (2654). Another copy at Photo 3/2 (118).[Gelatin silver print, 197x148mm]. View looking down onto the white marble shrine. For another view, see Photo 968/1 (43), where the temple is called the Dalpatbhai Bhagubhai.[?Collodion printing-out paper, 153x207mm]. View looking down onto tomb and enclosure. View looking down onto two rows of small wooden buildings. Print in poor condition.[Printing-out paper, 322x259mm]. View looking down on well. View looking down over the Qutb site, with the Alai Minar at right. View looking down the aisle. The print is dated in the caption 'Monday Dec 16th 1878' which may be the date of J.W. Macnabb's marriage to Alice Corrie. View looking down the aisle towards the chancel. View looking down the gardens towards the Dal Lake. View looking down the paved stairway seen in print 55. View looking down the roadways towards a series of stone arches.[?Matte collodion printing-out paper, 160x200mm]. View looking down the sloping street towards the temple with its gilded copper cupola. View looking down the steps. View looking down to the hillside onto the enclosed temple complex.[?Collodion printing-out paper, 208x152mm]. View looking eastwards across the Anguri Bagh towards the Khas Mahal, with the River Jumna beyond and the Taj Mahal in the distance. View looking eastwards across the Anguri Bagh towards the Khas Mahal, with the Taj Mahal visible in the distance on the banks of the Jumna. View looking eastwards across the Anguri Bagh towards the Khas Mahal. Original and duplicate negatives only, no print. View looking eastwards across the Anguri Bagh towards the Khas Mahal. View looking eastwards across the tank towards the rock fort at Trichinopoly (modern Tiruchchirappalli), surmounted by a Ganesh temple. View looking eastwards across the Waghora River valley. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2053). View looking eastwards along the arcade, with a stairway beyond the doorway leading up into the central area of the temple.'Ascending through the great western gateway towards the centre of the temple, we enter a cruciform gallery, conducting to four courts, or rather reservoirs, surrounded with open pillared galleries. This portion of the building is shewn at B in the ground plan, and is remarkable for its symmetry of construction....The pillars here, as in the inner range of the external corridors, have no base. Just below the capital, and extending about half-way down the shaft, we find a series of long inscriptions, which can be translated by the Cambodian priests, and are said to contain the records of offerings made by distinguished indviduals who at different periods visited the temple. The pillars, as will be seen from the photograph, carry an architrave and a deep frieze, ornamented with female figures in graceful dancing attitudes, called by the natives Tewadah or Chao Savan (dwellers in heaven). Above the frieze is an ezquisitely sculptured cornice, from which rises a pointed arch formed by corbeling. The general form of this portion of the building has a striking resemblance to the form of the Gothic structures of the twelfth century...In Nakhon Wat the rows of pillars take th eplace of the walls in the Gothic examples. Passing to the left, along an arm of the cross, we have before us one of the reservoirs, part of which is shewn in the next photograph.'('Description of the Photographs', p. 37).[Albumen print, signed 'J. Thomson' in the negative, 186x242mm]. View looking eastwards along the central series of caves, with Caves IX and X in the foreground. The bearded figure of Gill himself is seated on a rock in the left foreground. 'As is seen from the picture, the rock here is smoother and more perpendicular than anywhere else, and carries its smoothness down almost to the bottom of the ravine. To the right and left the platform of the rock rises considerably, and the caves are situated on a ledge, which was probably broader in former times, but is now hardly passable in places. It is only by getting on the terrace at this point that the outer excavations are reached. Apparently, there never was any other ascent to any of the Caves but at this spot.' View looking eastwards from the entrance screen in front of the temple, showing the northern stone elephant and column and part of the north fa�ade of the temple. View looking from left to right along the porch. View looking from Marine Villa towards Senate House. View looking from right to left along the porch, with water jugs and a bottle in the middleround. At the far end of the porch is a cloth or canvas piece with wooden supports, possibly part of Gill's photographic equipment: 'This Cave has been used as a workshop and occasional residence by Major Gill during the twenty years he has remained at Ajunta, and were it not for the difficulty of procuring sufficient light in the interior, there can be no doubt but their dryness and equable temperature would render these caves very pleasant places to live in.' View looking from right to left along the porch or verandah, shoing paintings on roof, '...now very much obliterated. Its paintings...possess no historical interest, as they consist only of architectural patterns and borders, exhibiting what might be called a mixture of Classic and Assyrian designs...' View looking from right to left along the porch or verandah. View looking from right to left along the verandah. View looking from right to left along the verandah or porch, showing paintings on roof. A clearer image than print 43. View looking from right to left along the verandah or porch. View looking from the nave to the chancel. View looking from the roof terrace back towards the main gateway. View looking from the temple back to the entrance gateway. View looking from the terrace of one temple, towards other shrines. Photograph by Colin Murray for Bourne and Shepherd. View looking inside the monastery from the entrance of one of the earliest excavations, the fa�ades of which have collapsed. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2080). View looking into excavation pit and showing the foundations of the tomb. The tomb itself was demolished around 1832. These excavations were made in order to establish the exact site in order that a commemorative chhatri could be erected. View looking into interior. Poor quality print. View looking into interior. View looking into the cave from the entrance. Gill is seated in the right foreground. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2073). View looking into the interior. Small print. View looking into the interior of a palace building, bath-house? View looking into the interior of the Mussaman Burj. View looking into the interior of the Samman Burj. View looking into the well.[Gelatin silver print, 291x241mm]. View looking into trench and showing excavated section of wall. View looking north across the court towards the Bari Khwabgah. View looking north across the Maidan. The High Court is at the left, the Town Hall (partially concealed by trees) to the right, and Government House right of centre. In the right background is the dome of the Post Office. View looking north across the Motisah Tuk, with the Motisah Temple right of centre, and the Adinatha Temple visible on the skyline at the extreme right. Immediately beyond the Motisah Tuk is the Tuk of Ujambi Hemabhai. View looking north along Esplanade Road from Watson's Hotel, with part of the University garden in the left foreground. View looking north along the garden (heavily planted with cypresses along both sides of the formal pool) towards the main building. The view appears to have been taken from ground level rather than the top of the gateway as the caption states. India Museum No. 137. Not duplicated in India Office series. View looking north along the garden towards the tomb. View looking north-east across the court of the Jami Masjid, with Islam Khan's Tomb at the left, towards the city area in the distance. See also print 525. View looking north-east across the Golden Lily Tank towards temple gopuras. The central gopura in this view is the eastern gopura; to the right is the Chitra Gopura. Albumen print, 371 x 253 mm. View looking north-east along the fa�ade of the shrine on the upper level. Photo 1000/8 (895) is a platinum print from the same negative. View looking north-east along the road towards the arched gateways of the naubhat (or nakkar) khana, the place of the court musicians. View looking north-east along the road towards the arched gateways of the naubhat (or nakkar) khana, the place of the court musicians. View looking north-eastwardds across the valley. The large central cave with the horseshoe shaped entrance is Cave X. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2054). View looking northwards along the beach towards the Shore Temple. Duplicate of Photo 1008/11 (1179D).[203x153mm]. View looking northwards along the east fa�ade of the palace, with the Hathio Paur in the foreground. Reproduced in photogravure in Agra and Gwalior, H.H. Cole, Preservation of national monuments in India (vol II, part 6, Agra and Gwalior), pl. 2 and there credited to Bourne & Shepherd. This is a later view than print 1431, with the tree no longer present in front of the Hathio Paur. View looking northwards along the east side of the fort plateau, with the Man Mandir in the left foreground, and the road leading up to the Hathio Paur Gate below. India Museum no. 884. Duplicate of Photo 1000 (3389). View looking northwards along the east wall of the Jami Masjid towards the main entrance gateway, with street traders in the foreground. Original and duplicate negatives only, no print. View looking northwards along the outer wall of the fort towards the Jumna, with a pavilion projecting from the wall of the fort in the foreground. This pavilion obscures the Mussaman Burj, which can be partly seen beyond. For a front view of this pavilion, taken from the outer wall looking west, see print 2. View looking north-west, with part of Bhima Ratha in foreground, Arjuna Ratha beyond and Draupadi Ratha in background. View looking north-west, with the University buildings in the foreground and Back Bay beyond. At the left is the Convocation Hall, at the right the University Library and Rabajai Tower. View looking north-west across cistern towards mandapa. View looking north-west across the courtyard of the Jami Masjid towards the tombs of Shaik Salim Chishti and Islam Khan. View looking north-west along the facade after the rebuilding of 1881-82. View looking north-west from the Ochterlony Monument, with Government House in the foreground and the city beyond. Dome of the Post Office at the extreme right. View looking north-west towards the Keshav Bhawan. View looking north-west towards walls and bastions of the fort, with the Khas Mahal and the Mussaman Burj in the right background.[Albumen print, 192x145mm]. View looking north-westwards across the courtyard of the Jami Masjid towards the tombs of Shaikh Salim Chishti and Islam Khan. Print highlights faded. View looking north-westwards towards the southern column, with the Ramayana frieze on the mahamandapa in the right foreground. View looking obliquely across the courtyard towards the iwan of the masjid. Almost identical to, and evidently taken on the same occasion as Photo 1000 (1711), in which one of the same figures is posed in the foreground. View looking obliquely across the courtyard towards the iwan of the masjid. Almost identical to, and evidently taken on the same occasion as Photo 1000 (1711), in which one of the same figures is posed in the foreground. View looking obliquely across the courtyard towards the iwan of the masjid. Described in Archaeological Survey of Western India, VII, pp. 30-36, plans and elevatiions, pl. xxxii-xxxvii. View looking obliquely across the courtyard towards the iwan of the masjid. Described in Archaeological Survey of Western India, VII, pp. 30-36, plans and elevatiions, pl. xxxii-xxxvii. View looking obliquely along fa�ade of building. View looking obliquely along the street fa�ade of the building seen at the left of print 3: 'The tower seen from a distance has a very fine effect, but this is destroyed by a nearer view. It is a striking mixture of squalor and magnificence...It is a curious mixture of Saracenic and European architecture, and the lightning conductor on the top reminds the visitor that some rays of western civilization have reached even the Tanjore Palace.' Albumen print, 364 x 266 mm. View looking otowards fort buildings, partly obscured by trees. View looking out from the interior. From south-east. View looking out of the Diwan-i-Am towards Colvin's Grave. From south. View looking over a lake. View looking over a road to the building on the opposite side, three European men are standing outside the gates. The architecture of the building and the tall chimney suggest a power station(?). View looking over a rooftop towards the temple sanctuary tower. View looking over a tank. View looking over a tank. View looking over a tank towards a gopuram in the Padmanabha Temple.. View looking over buildings and a garden toward palm trees beyond. This view appears to link up with print 135 (the chimney at extreme right, joining up with the chimney at the left of print 135). View looking over Dalhousie Tank. View looking over Diving Well? From north-east. View looking over entrance wall towards temple. View looking over exacavated area, with stupa group in foreground. View looking over gateway towards the open court (with monolithic shrine) and entrance to the Jain Indra Sabha cave temple. Duplicate (later print) at Photo 97 (4). View looking over rooftops and walls to distant gopura. This is possibly a view at Srirangam. View looking over rooftops towards the Buland Darwaza or Victory Gate. View looking over rooftops towards the entrance to the mosque. View looking over rooftops towards the mosque. Print in poorish condition, with over all spotting.[Albumen print, 308x370mm]. View looking over rooftops towards the white spires of the Ambabai Temple. View looking over ruined village. View looking over site towards wall. View looking over the Anguri Bagh to the Khas Mahal. From south-west. View looking over the Anguri Bagh towards the Khas Mahal. View looking over the Anup Talao. From south-west. View looking over the diving well. Copy at Photo 1002 (548). View looking over the excavated monastery buildings. The doorway seen in prints 244 and 246 can be seen in the foreground of this photograph. View looking over the gardens towards the Shiwaniwas Palace, with the old palace beyond, and the Lake Palace visible in the left background. View looking over the mass of worshippers towards the mosque which is located below a range of hills. View looking over the river, a minaret in the foreground. View looking over the roof of the arms of the cellular jail towards the harbour and Ross Island beyond. A rather dark print.[(?)Collodion printing-out paper, 157x109mm]. View looking over the roofs of the factory building. This probably shows the premises of the jute pressing firm known as the Camperdown Pressing Company, situated in the northern Calcutta suburb of Cossipore and also seen in prints 65-72. This view joins up with print 136 to form a panorama. Second copy neg at B.21150. View looking over the tank. Copy at Photo 1002 (631). View looking over the tank. Duplicate of Photo 179 (11). View looking over the tank towards the imambara. View looking over the tank towards the Raj Mahal. View looking over the teppakulam towards the Rock and temple. View looking over tombs and ruins. View looking range of factory buildings.[Printing-out paper, 307x249mm]. View looking seawards through an archway in the Shore Temple. View looking south across the Gumti River towards the Chattar Manzil. View looking south across the Jumna towards the Taj Mahal and side mosques.[Printing-out paper, 203x153mm]. View looking south-east across the terrace, with the Diwan-i-Khas on the right and the Mussaman Burj beyond. The view looks over the Jumna, with the Taj Mahal in the distance.[Developing-out paper, 294x243mm]. View looking south-east from the Beyazit Tower, with the Nuruosmaniye Mosque in the centre of the photograph. In the right background is the Sultan Ahmet Mosque (Blue Mosque), with the debouchement of the Bosphorus into the Sea of Marmara beyond. Two of the minarets of Haghia Sophia can be seen on the extreme left of the print. With the rooftops of the Grand Bazaar in the foreground.[Albumen print, 324x259mm]. View looking south-east from the vicinity of the Moti Masjid (Pearl Mosque) towards the triple-domed Nagina Masjid, with the Diwan-i-Am to the right. The Taj Mahal is visible in the distance. The caption appears to have confused the Nagina Masjid with the Moti Masjid.[Developing-out paper, 291x243mm]. View looking south-east over the gardens, with Lord Curzon's statue in the foreground.[Gelatin silver print, 204x147mm]. View looking south-east towards one of the two library buildings which flank the causeway running from the western entrance to the main temple complex. This is the one on the south side. *Extra print, not included in original published work.[Albumen print, signed 'J. Thomson' in the negative, 245x188mm]. View looking south from Chandragiri Hill towards the Jain temple and the massive Gommateshvara Image (visible on the skyline) on the summit of Vindhyagiri Hill. There is a large tank in the valley between the two hills. See Photo 1000 (3267) for a similar view. Print unsigned, but probably by Dixon.[Albumen print, 275x227mm]. View looking south from the Kuthodaw Pagoda, across the lines of inscription shrines, towards the tiered stories of the Atumashi Kyaung ('Incomparable Pagoda') in the left background. City walls of Mandalay in the distance. View looking south over the garden, with Pomeroy's statue of Lord Curzon in the foreground.[Gelatin silver print, 199x151mm]. View looking south over the garden, with Pomeroy's statue of Lord Curzon in the foreground.[Gelatin silver print, blind-stamped 'Johnston & Hoffmann India', 287x236mm]. View looking southwards across the Jumna towards the Taj Mahal, with the mosque and jawab on either side.[Developing-out paper, 293x249mm]. View looking southwards along the fort wall towards the pavilion. View looking south-west, with the Panch Mahal in the left foreground. The Buland Darwaza of the Jami Masjid can be seen on the skyline in the distance.[Silver printing-out paper, 211x153mm]. View looking south-west across the Golden Lily Tank (Pottamarai Kulam) towards the great southern gopura of the Minakshi Sundareshvara Temple.[Platinum print, 245x288mm]. View looking straight ahead. View looking through a cusped archway towards an unidentified cenotaph. This tomb is also seen in Photo 53 (45). Shah Alam's tomb is at Ahmadabad, not Delhi. View looking through a doorway into the interior.[Gelatin silver print, 113x152mm]. View looking through a highly-decorated round arch towards a side altar. View looking through an arched doorway to the cenotaph. View looking through an arched gateway towards the plains below. With Margaret Ramsden standing in the foreground (back to camera). View looking through an archway towards a flight of steps up to the interior of the fort. View looking through arched entrance to courtyard. View looking through arches. View looking through archway to the courtyard beyond. View looking through cusped arches into a hall with European furniture and a large punkah suspended from the ceiling. Duplicate at Photo 37 (44). View looking through entrance archway and down into well. View looking through entrrance gateway. View looking through the archway of the ruined Quwwat-ul-Islam Mosque towards the iron pillar. Original and duplicate negatives only, no print. View looking through the gateway towards the clocktower beyond. Caption as it appears in Hering's catalogue of Beato's views in square brackets. [Albumen print, 303x241mm]. View looking through the north-east lion archway and along the north fa�ade of Government House. Print probably made in the 1890s.[Silver printing-out paper, 158x105mm]. View looking through the octagonal entrance archway into the garden. Letterpress continues: 'Front view of these gardens - the arched entrance is formed of granite - at the back is a recreation house.' View looking through the ornately-carved stone gateway. One of Deen Dayal's large cameras can be seen on the left of the photograph. The 10th-11th century free-standing gateway was brought from a ruined temple at Gurgi, east of Rewa and re-erected in the town. Reproduced as plate 87 in Lepel Griffin, 'Famous Monuments of Central India' (London, 1886). Another copy at Photo 1000/15 (1616).[Albumen print, 205x269mm].Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. View looking through the triple-arched gateway to the lake beyond. View looking through trees, a man is standing in front of the cottage. View looking through trees. View looking through trees. View looking through trees to the distant building. View looking through trees towards the bungalow of Dr W.J. Mountain. View looking through water gate. View looking toward mihrab (prayer niche) and minbar (pulpit), showing also part of the carved domed ceiling, supported on Hindu columns. View looking towards (?)Ananthanadhaswami Temple. View looking towards (?)unexcavated mound. View looking towards a chhatri with an Indian group on the right. View looking towards a cluster of domed houses, with villagers grouped on and in front of the buildings.[102x77mm]. View looking towards a cluster of pagodas. View looking towards a cluster of pagodas at the summit of a wooded hill.[Gelatin silver print, 99x74mm]. View looking towards a doorway, with the length of the mandapa beyond. Much of the print is in total darkness, apart from this central area. View looking towards a doorway, with the length of the mandapa beyond. Much of the print is in total darkness, apart from this central area. View looking towards a fort with a group with camels in the foreground. View looking towards a gallery overlooking a colonnaded court and connected to it by a flight of steps. Identification uncertain: it is not clear whether this is the same building seen in plate v of James Burgess, The temples of Satrunjaya (Bombay, 1869), captioned Temple of Kesavji Nayak. View looking towards a gopura, with a row of elabaorately carved niches containing figures running along the top of the wall in the foreground. Another copy of this print at Photo 1000 (2313a) identifies this as the Bhoganarasimhaswami Temple at Devarayadurga: this identification has been tentatively accepted. [Albumen print, 254x332mm]. View looking towards a gopura (largely obscured by trees) of the Brihadeshvara Temple at Thanjavur. View looking towards a group of buildings flanked by two pagoda-like dovecots: '...The Rajahs of Tanjore were accustomed to spend much of their time in this charming retreat. It will be seen that the buildings are modern but though the details are European, the general effect is rather Chinese.' Albumen print, 371 x 255 mm. View looking towards a group of commercial premises and a hotel.[Printing-out paper, 312x244mm]. View looking towards a group of graves at the Choti Dargah, with the tomb of the saint shaded by a cloth screen hung from four stone pillars.[Woodburytype, 239x186mm]. View looking towards a group of houses, with temple domes visible beyond. The temples are all but invisible behind the domestic buildings. View looking towards a group of houses, with temple domes visible beyond. The temples are all but invisible behind the domestic buildings. View looking towards a group of pyramids, with a large camera standing on a tripod in the foreground. Caption pencilled on back of print.[Albumen print, 229x184mm]. View looking towards a group of temple pagodas, with wooden monastery buildings to the right.[Printing-out paper, 97x70mm]. View looking towards a group of thatched Burmese houses.[95x73mm]. View looking towards a group of tombs, among them that of Ala ul Haq, father of Nur Qutb Alam.[Woodburytype, 239x186mm]. View looking towards a group of tombs, with the Hayat Bakshi Begum Mosque in the left background and the Tomb of Muhammad Qutb Shah in the centre. 'This group represents the tombs already mentioned in Nos. 1, 2, 3, and 4, with some smaller tombs to the right. The negative contains so many photographic imperfections, that the artist has some hesitation in sending it for publication; but those who are acquainted with the art, and know the many disadvantages which the photographer in India labours under, will not be severe in censuring the imperfections which this, or any other of the present collection of photographs which the artist sends for publication, contain, especially when they learn that the thermometer was at 113 degrees in the operator's tent when this photograph was developed.'[Albumen print, 245x193mm]. View looking towards a group of tombs. See print 7 for a closer view and note on naming.[Albumen print, 273x198mm]. View looking towards a Jain tuk or enclosed temple complex.[?Collodion printing-out paper, 208x155mm]. View looking towards a large, square-based temple situated on a small hill.[Cyanotype, 153x90mm]. View looking towards a large unidentified house.[Silver printing-out paper, 103x76mm]. View looking towards a line of towers on the city walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x200mm]. View looking towards altar.[Albumen print, signed 'Townshend Phot.' in the negative, 213x275mm]. View looking towards altar. Inserted in off-print, 'Barnard Institute of Radiology.'[Gelatin silver print, 88x138mm]. View looking towards altar. View looking towards altar and images. View looking towards altar in monastery. Poor quality print, with highlights burned out. View looking towards a marble screen with a representation of the scales of justice above. View looking towards a monastery and a pagoda, with standing water in foreground: 'It is not often that a Pagoda of masonry and a Kyaung of wood are seen in such close proximity as depicted above. The apex of the Pagoda, and the Umbrella, are richly gilded, having been lately been done, this (and it is not the only instance since the time of British occupation) shews that in spite of the present condition of affairs, the people have trust in our good faith, and are ready to resume their ordinary avocations. The Kyaung is also in a perfect state of preservation. the foreground shews a large collection of water remaining from recent floods...' View looking towards an ached gateway. View looking towards angle of wall and bastion. View looking towards an unidentified building with a tank in the foreground, in use as a military hospital.[Albumen print, 283x215mm]. View looking towards an unidentified temple with a Buddha image in front. With excavated ground in the foreground. A faded print.[Albumen print, 278x208mm]. View looking towards aqueduct, partially obscured by trees in foreground. View looking towards a raised terrace, with buildings beyond. View looking towards arcade, with the roof above open to the sky. View looking towards arched entrance in wall, with Rajagiri Hill beyond. Duplicate at Photo 3/2 (70). View looking towards arched entrance passage. View looking towards arched gateway: 'Close to the Qadam Rasul is the eastern gate of the fort, which appears to be of modern construction, and is said to have been built by Suja Shah, when, long after the desertion of the city, he temporarily returned, and endeavoured to revive it. Apparently this gate was connected by a bridge with a road leading to the palace. It is built of brick and stone, and is the only ruin in Gaur showing any trace of plaster...' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 78).[Woodburytype, 235x185mm]. View looking towards arched gateway in fort wall, with an Indian figure standing at either end of the gateway passage. Another copy at Photo 1000 (2272a).[Albumen print, 234x290mm]. View looking towards arched passageway leading to courtyard. View looking towards archway.[Gelatin silver print, 288x238mm]. View looking towards ashlar wall View looking towards a shrine, with sculptured columns in the form of toranas in the foreground. India Museum no. 83. Duplicate of Photo 1000 (2077a). View looking towards a small building, with construction work and cranes beyond.[Printing-out paper, 312x247mm]. View looking towards a street of private houses at the Fort perimeter, after the removal of the ramparts.[Albumen print, 225x193mm]. View looking towards a tomb, with hills beyond. Faded print.[136x69mm]. View looking towards a tower in the palace. View looking towards a two-storey brick bungalow, probably the same building as print 38. View looking towards a two-storeyed pillared hall, with other buildings beyond. A very poor quality print, dark and indistinct. View looking towards a two-storeyed pillared hall, with other buildings beyond. A very poor quality print, dark and indistinct. View looking towards a wall and unidentified remains. Poor quality print. View looking towards a wall and unidentified remains. Poor quality print. View looking towards baradari in the garden. From west. View looking towards barracks. From east. View looking towards barracks. From south-east. View looking towards barrack square and barrack buildings. View looking towards building, with bridge across dry moat in foreground. View looking towards building, with group posed at entrance.[Platinum print, 78x103mm]. View looking towards building, with tiered pyathat.[Albumen print, 75x101mm]. View looking towards caravanserai. View looking towards carved Buddha figures. Note refers to General Department, India Office Letter No. 24 of 25th May 1869. Duplicate of Photo 1000 (635), which see for note on this photograph. View looking towards carved wood doorway: 'The room is bare and unfurnished, but the pillars and beams are painted in Tibetan style, and the whole architecture is Tibetan.' View looking towards central portico of the Madras Club, with club servants gathered in front of the porte-coch�re beneath. View looking towards central tower, with votive stupa in right foreground. View looking towards Chowringhee Mansions. View looking towards citadel. View looking towards cluster of pagodas.[Gelatin silver print, 98x74mm]. View looking towards colonnade, with flight of steps in foreground.[Gelatin silver print, 153x200mm]. View looking towards colonnade. View looking towards colonnade and entrance in outer court, with the mouths of rice jars visible in the earth in the foreground. View looking towards colonnade of Hindu arches. View looking towards columned entrance, with small open-sided mandapa in foreground. The piles of masonry lying in the courtyard suggest extensive repairs or rebuilding. View looking towards columns, with stone elephant in foreground. Poor quality print.[?Matte collodion printing-out paper, 153x195mm]. View looking towards Colvin's grave in front of the Diwan-i-Am. From east. View looking towards corner, with squinch arch above. (Ancient Persis Map B2). View looking towards covered entrance, with flanking chinthes beyond. View looking towards dalan or hall. Tomb not visible. View looking towards dam.[102x78mm]. View looking towards domed, pyramidal tower of shrine. View looking towards domed mosque, with ruins of brick structure in foreground. Described in Alexander Cunningham, Report of a tour in Bengal and Bihar in 1879-80 (ASI vol XV, Calcutta, 1882), p. 139: 'These are five small brick tombs arranged in one line on a platform about 4 feet high. Nothing whatever is known about the holy men who are entombed in them. Along the edges of the platform there are some unifinished brick pillars, which look as if they had been intended for the support of a roof, or perhaps only a trellised railing. To the south-east there is a small neglected brick mosque, now fast hastening to ruin.' The mosque cannot be seen in this view. India Museum no. 808. Duplicate of Photo 1000 (2729). View looking towards domed shrine. View looking towards doorway, showing its use as an armoury, with the passageway lined with weapons and suits of armour.[Albumen print, 200x246mm]. View looking towards doorway, showing tilework surrounds. Print in poorish condition, with overall spotting.[Albumen print, 310x371mm]. View looking towards doorway and gallery. Print in poor condition, with overall spotting.[Albumen print, 310x371mm]. View looking towards doorway and sculptured surrounds, with a praying figure in the foreground.[Albumen print]. View looking towards doorway in colonnade.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x199mm]. View looking towards doorway of small shrine View looking towards doorway with richly carved surrounds. View looking towards east gateway from street. View looking towardselevation and showing modern repairs. View looking towards end of temple, with figures seated in foreground.[Albumen print]. View looking towards entrance, and showing upper portion of temple built up from brick (possibly as a fortified position?). India Museum no. 849. Duplicate of Photo 1000 (1983) and (3356). View looking towards entrance, showing relief decoration on adjoining stucco walls: 'At the north-west corner of the tank, but approachable only through a heavy bamboo jungle, is an endowment to Makhdum Shah, a saint whose tomb is still standing. This is conspicuous for its two small but elegant arches...'[Woodburytype, 236x187mm]. View looking towards entrance, the doorway flanked by female guardian figures carved in relief. India Museum no. 544. Duplicate of Photo 1000 (2487). View looking towards entrance, with broken pillars and other carved masonry lying in the foreground. View looking towards entrance, with bystanders and musicians in foreground.[Gelatin silver print, 98x78 mm]. View looking towards entrance, with finely-carved architraves. View looking towards entrance.[Gelatin silver print, 235x286mm]. View looking towards entrance. Print in poor condition, with overall spotting.[Albumen print, 303x371mm]. View looking towards entrance. View looking towards entrance. View looking towards entrance. View looking towards entrance. The columns and lintel remain standing, but rest of porch has collapsed. India Museum no. 857. Duplicate of Photo 1000 (1989) and (3364). View looking towards entrance. This appears to show the same part of the building as print 121, although the fa�ade has been repainted painted between the taking of the two photographs.[Gelatin silver print, 105x153mm]. View looking towards entrance and central tower. View looking towards entrance arch of Muhammad Mahruk's Tomb. See also print 124.[74x99mm]. View looking towards entrance doorway. Print in poor condition, with overall spotting.[Albumen print, 306x374mm]. View looking towards entrance fa�ade of the mandapa. View looking towards entrance gate.[Woodburytype, 233x188mm]. View looking towards entrance gateway, tower and street fa�ade. View looking towards entrance gateway, with European figure standing in front, with the temple and column in the enclosure beyond. Reproduced in collotype in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), pl.6: 'The accompanying autotype plate vi is a view taken in 1874, before the monolithic column in the west side of the court fell over, and shows the gateway, the mandapa in the court and the pillar, with portions of the fa�ade behind them.' (p.45). This print has the pencilled note on the reverse, 'Indra Sabha Autotype p. 32'. See also print 142, taken after the collapse of the pillar. Another copy of this print at Photo 1000/6 (708). View looking towards entrance gateway.[120x96mm]. View looking towards entrance gateway. View looking towards entrance gateway. View looking towards entrance gateway. View looking towards entrance gopura, in front of which stands a tall column whose base is enclose in an open-sided mandapa. View looking towards entrance gopura of temple: 'The gateway, which is considered one of the finest and best-proportioned in Southern India, is well seen in this photograph...It is nearly 200 feet high, the pyramidal part of the tower being of brick and plaster, rises through eleven stories exclusive of the base and the waggon-shaped roof...In the view may be seen two of the country carts, which are drawn by bullocks, and are in use all over the Madras Presidency'. Second copy neg at B.25242. Duplicate (later printing) of Photo 1000 (2981). Another copy at Photo 212/3 (1).The top half of the negative had been broken off before this later print was made, cutting off the top of the temple gopura. View looking towards entrance guardhouse, with main building beyond. Print in poorish condition, with overall spotting.[Albumen print, 376x309mm]. View looking towards entrance of brick building. View looking towards entrance of building. Print in poor condition, with overall spotting.[Albumen print, 383x304mm]. View looking towards entrance of Cave 5. View looking towards entrance of house from garden. The woman seated on the verandah is the same figure also seen in print 56 (probably Mrs Muspratt-Williams) and this presumably shows the family's house during Muspratt-Williams's attachment to the Rajputana Public Works Department. View looking towards entrance of temple seen in the centre of print 2088. View looking towards entrance of the easternmost shrine at Elephanta, approached by a short flight of steps flanked by two guardian lions. View looking towards entrance of the the Ranganadheshvara Temple. View looking towards entrance porch.[Printing-out paper, 242x182mm]. View looking towards entrance porch. View looking towards entrance porch. View looking towards entrance porch. View looking towards entrance porch and nandi pavilions. View looking towards entrance to (manmade) caves. View looking towards entrance to cave. View looking towards entrance to central shrine, with enclosure colonnade in the background. Albumen print duplicate at Photo 1000 (1262).[Carbon print ('Autotype'), 256x191mm]. View looking towards entrance to mandapa, with sanctuary tower beyond. View looking towards entrance to mausoleum, with Iznik tilework surrounds.[Albumen print, 383x309mm]. View looking towards entrance to old caravanserai. View looking towards entrance to old caravanserai. View looking towards entrance to shrine, showing intricate carved work of surrounds, with tirthankara image seated inside doorway. View looking towards entrance to structure, with two figures posed at left. The corrected caption is probably the work of Geraldine Mitton (see introduction).[Albumen print, signed 'Lawton' in the negative, 283x214mm]. View looking towards entrance to the mausoleum, showing decorative tilework surrounds to doorway.[Albumen print, 371x306mm]. View looking towards entrance to tomb, at Haghia Sophia, Istanbul.[Albumen print, 376x311mm]. View looking towards entrance to tomb.[Albumen print, 381x312mm]. View looking towards entrance to unidentified shrine or tomb. Poor quality print.[103x78mm]. View looking towards excavated stupa base. View looking towards excavated wall in trench. View looking towards factory buildings, also seen and identified in print 8.[Gelatin silver print, 77x101mm]. View looking towards fa�ade, partially obscured by tree in foreground. View looking towards fa�ade, with much of the building covered in vegetation. See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 77).[Woodburytype, 235x185mm]. View looking towards fa�ade of building. Poorish quality print, with overall spotting.[Albumen print, 312x372mm]. View looking towards fa�ade seen in print 54, with the zenana (see print 53) at the left. With a group of mounted guards posed in the foreground. View looking towards fireplace. View looking towards fireplace and mantelpiece. View looking towards flight of steps ascending to columned hall. Identification uncertain.[Gelatin silver print, 114x90mm]. View looking towards flight of steps leading up to entrance.[Albumen print, 227x168mm]. View looking towards fort.[100x77mm]. View looking towards fort and crenellated outer walls. See also print 3. View looking towards fort walls, overgrown with vegetation. Duplicate not traced in Archaeological Survey collections, but from its position in the album, it presumably shows the same site as prints 50 and 52.[203x151mm]. View looking towards galleries. Print in poorish condition, with overall spotting.[Albumen print, 307x373mm]. View looking towards gateway, with British barracks on right and guns in foreground. Small snapshot. View looking towards gateway, with colonnade beyond.[Gelatin silver print, 149x200mm]. View looking towards gateway, with dome beyond. View looking towards gateway, with mounted group lining approach in foreground. View looking towards gateway, with Stein's car on the road. View looking towards golf pavilion, with landscaped terraces and fountain in foreground. The pavilion has a roof designed in local style. View looking towards gopura, with mandapas in foreground. View looking towards gopura. View looking towards gopura from outside the temple. Print signed H.D. in the negative. India Museum no. 610. View looking towards gopura from the Kalyana Mandapa. Smaller version of print 2.[Gelatin silver print, 52x79mm]. View looking towards gopuras, with the Golden Lily Tank in the centre of the print. The south gopura at right, and east gopura, extreme left background. Bloch's list incorrectly records this as 'general view from south'. View looking towards gopuras, with the Golden Lily Tank in the centre of the print. The south gopura at right, and east gopura, extreme left background. Bloch's list incorrectly records this as 'general view from south'. View looking towards gopuras and colonnade of the Nanjundeshvara Temple. View looking towards gothic screen and carved angel. View looking towards Great Arch and Iron Pillar. View looking towards group of chortens, with tethered yaks in foreground. View looking towards group of stone buildings.[Printing-out paper, 315x254mm]. View looking towards group of temples, with groups of by-standers in foreground. Radha Krishna Temple in left background. View looking towards guardhouse and gateway.[Printing-out paper, 318x257mm]. View looking towards Gyantse Dzong, where the huge carpet decorated with a Buddha image hangs from the walls during its annual display. View looking towards hill, with several pagodas in foreground. View looking towards house, largely obscured by trees.[Gelatin silver print, 98x78 mm]. View looking towards house.[58x50mm]. View looking towards house from gardens, with ornamental fountain in foreground.[289x240mm]. View looking towards houses, with a group of men and youths posed in the foreground.[Albumen print, 196x148mm]. View looking towards houses, with two women passing in foreground. View looking towards houses on the bank. With the Shah Hamadan Masjid at the left and the Hari Parbat Fort in the distance. View looking towards Iron Pillar and colonnade. View looking towards iron railings, with buildings beyond. View looking towards Karim-ud-Din's Mosque in the left foreground, with the Sat Manzil at the right. The mosque utilises the columns of a former Hindu temple: 'This building, or at least a portion of it, has been called an agrahara or Brahmanical college; but this is altogether wrong, for...it is, save for that portion forming the entrance to the courtyard, a purely Muhammadan building erected from a miscellaneous lot of material obtained from one or more old temples' (Henry Cousens, 'Bijapur and its architectural remains', ASI, vol. XXXVII, Imperial series, Bombay, 1916, p. 43). View looking towards Kennedy's house, a single storey stone building with a small garden in front, with the mess, in similar style, beyond. View looking towards khanqah (monastery) buildings, with a small cemetery in the foreground. View looking towards Krishnagiri Hill from the fort wall. View looking towards large central archway and flanking minarets. View looking towards main building, with smaller shrines around exterior perimeter. Precise location unidentified (?possibly in Mandalay). View looking towards main building. View looking towards main entrance. View looking towards main entrance. View looking towards main entrance and central portion of the building.[Albumen print, 379x304mm]. View looking towards main sanctuary. View looking towards main shrine and temple shikara. View looking towards mandapa, with small gopura in left background. View looking towards mandapa, with vimana tower beyond. The dome of the Subrahmanya Shrine is visible in the background. View looking towards mandapa. View looking towards mandapa. View looking towards mandapa and nandi pavilions. View looking towards mihrab (prayer niche), with pulpit steps at left. View looking towards mihrab (prayer niche) and doorway. View looking towards mihrab (prayer niche) and minbar (pulpit). Print in poor condition, with overall spotting.[Albumen print, 299x371mm]. View looking towards mihrab and minbar, showing tilework decoration of wall.[Albumen print, 373x301mm]. View looking towards monastery and associated buildings. View looking towards monastery buildings on riverbank. View looking towards mosaic of Theodoros Metochites offering the church to Christ seated on a throne, in the lunette over the entry to the nave from the inner narthex of the former church. Print in poorish condition, with overall spotting.[Albumen print, 378x305mm]. View looking towards mosque, with tank in foreground. View looking towards mound, with excavation work in progress. View looking towards Mustafa Khan's Mosque, framed in the arched gateway known as the Bari Kaman. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 95-97: 'The mosque is a very lofty and substantially built edifice. The fa�ade has three tall arches, the central one being veryn much wider than the side one; and, being almost devoid of ornament, the front has rather a bald appearance...Standing some two hundred yards to the south of the mosque and palace, upon the side of the road leading from the citadel to the Jami Masjid, is a great heavy-looking archway known as the Bari Kaman. It was the main entrance into Mustafa Khan's grounds, though now cut off and separated from it.' View looking towards Mustafa Khan's Mosque, framed in the arched gateway known as the Bari Kaman. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 95-97: 'The mosque is a very lofty and substantially built edifice. The fa�ade has three tall arches, the central one being veryn much wider than the side one; and, being almost devoid of ornament, the front has rather a bald appearance...Standing some two hundred yards to the south of the mosque and palace, upon the side of the road leading from the citadel to the Jami Masjid, is a great heavy-looking archway known as the Bari Kaman. It was the main entrance into Mustafa Khan's grounds, though now cut off and separated from it.' View looking towards naga image carved from the rock at the side of the Naga Pokuna or Serpent Tank.[Gelatin silver print, 55x80mm]. View looking towards north face of Alai Darwaza. View looking towards north-west corner of inner face of temple wall. View looking towards one of the doorways leading into the shrine, with elaborately carved lintels. View looking towards one of the entrances on the east side of the mosque.[Albumen print, 384x309mm]. View looking towards one of the four entrances to the shrine. In the foreground can be seen traces of the foundations of the now-disappeared mandapa. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxxvii (a), and described pp. 116-117. View looking towards one of the four entrances to the shrine. In the foreground can be seen traces of the foundations of the now-disappeared mandapa. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxxvii (a), and described pp. 116-117. View looking towards one of the pavilions flanking the Khas Mahal, with a distant view of the Taj visible between the arches.[Lantern slide, 75X75 mm]. View looking towards one of the pavilions in the Shalimar Gardens. Caption note continues: 'The exquisite creation of Imperial luxury! Here pavilions, fountains, and canals harmoniously blend with the magnificent foliage of the vast plane trees. The decay of ages has stealthily crept over the finished workmanship, till but a faint trace of former grandeur remains to modern eyes. Calmer times, however, will not fail to induce the restoration of its pristine magnificence, while literature forever preserves to memory its romantic history.' View looking towards one of the side gateways. View looking towards one of the three entrance porches, and showing the sculpture on the wall of the temple. In ruinous condition. This is the temple described in Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 55. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1310). View looking towards one of the three entrance porches, and showing the sculpture on the wall of the temple. In ruinous condition. This is the temple described in Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 55. View looking towards one of the villas of the Yildiz Palace.[Albumen print, 253x200mm]. View looking towards outer Church Gate, with the lines beyond. Later print from an early (?)paper negative.[Silver printing-out paper, 175 x 139 mm]. View looking towards overgrown battlements. View looking towards pagoda.[100x72mm]. View looking towards pagodas, with chinthes flanking entrance. Second copy neg at B.25640. View looking towards pagodas. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 310. View looking towards palace, with series of tank waterfalls in foreground. Building not identified with certainty. Duplicate of Photo 1000 (3381), where the caption reads: 'View near Oojein, built for one of the Delhi Emperors as a summer residence. In the front view is a series of tank waterfalls running from the river. Gwalior.' View looking towards palace entrance after it had been taken over by the British authorities.[Albumen print, 273x203mm]. View looking towards Paro Dzong, with the river in the foreground. View looking towards Paro Dzong. View looking towards partially collapsing balcony. View looking towards partially excavated stupa base. View looking towards pavilion: date uncertain (possibly belongs to following group of prints, in which case the date would be 1935). View looking towards pavilion.[Gelatin silver print, 235x284mm]. View looking towards pavilion in centre of lake. View looking towards perimeter wall and entrance to museum.[Gelatin silver print, 202x149mm]. View looking towards police office and gatehouse.[Printing-out paper, 309x248mm]. View looking towards porch, showing carved columns and basement mouldings. View looking towards porch. View looking towards porch at left of main fa�ade. View looking towards porch of church. View looking towards porte-coch�re of bungalow. View looking towards pulpit (minbar) and side galleries.[Albumen print, 380x308mm]. View looking towards Qutb Minar, with cleared area in foreground. View looking towards Rajagiri, with fortifications in the foreground and the tower of the Kalyana Mahal visible in the right background. View looking towards ramparts. Duplicates at Photo 1008/9 (2650) and Photo 3/1 (47).[203x153mm]. View looking towards ramparts. View looking towards ramparts of the hill fort. View looking towards remains, little more than a low mound of rocks. View looking towards remains of doorway, with architraves carved with foliate forms. Byond can be seen a standing Buddha image (headless). View looking towards remains of wall, with stream in foreground. View looking towards remains of wall. View looking towards right-hand side porch of verandah. View looking towards round stone tower or platform at head of ridge. This appears to be the Tomb of Kalan Shahid (see print 3484). View looking towards row of corbelled pillars.[Albumen print]. View looking towards ruined buildings and city walls.[102x74mm]. View looking towards ruined fort.[101x78mm]. View looking towards ruined gopura of the Krishna Temple. Duplicate (later printing) of Photo 1000 (3149). Another copy at Photo 212/7 (11). View looking towards ruined stone steps with guardian figures. View looking towards ruins of the old mud fort. View looking towards sanctuary doorway. View looking towards sanctuary tower, largely overgrown with vegetation. View looking towards sanctuary tower. Much of the building is obscured by the tiled roof of the building in the foreground. View looking towards sanctuary tower (of the Pasupateshvara Temple?) View looking towards Satdhara's Spring, with the stone platform known as Pippala's Residence jutting out from the hillside above. View looking towards screen and archway, with Iron Pillar in the court in the foreground.[Gelatin silver print, 292x235mm]. View looking towards screen and archway, with Iron Pillar on the right.[Gelatin silver print, 201x150mm]. View looking towards screen of cusped arches, with walls decorated with mirrors and tiles beyond (Shish Mahal). A somewhat faded print. Photograph taken by Colin Murray for Bourne & Shepherd.[Albumen print, 282x233mm]. View looking towards sculpture, with carved pillars on either side. View looking towards sculptured column in unidentified temple. This is presumably the same temple containing the sculpture panels seen in prints 2536-2538. View looking towards sculptured fa�ade from inside temple precincts. View looking towards seated Buddha image. View looking towards shikara, with long, open-sided mandapa in foreground. View looking towards shikara, with mandapa out of frame. View looking towards shrine. View looking towards shrine. View looking towards shrine and tomb. Faded print.[138x72mm]. View looking towards shrine doorway. View looking towards shrine in centre of tank.[Gelatin silver print, 98x78 mm]. View looking towards shrines. View looking towards shuttered window and doorway, with mihrab (prayer niche) in right foreground, and showing tilework and calligraphic decoration.[Albumen print, 382x309mm]. View looking towards side chapel. Print in poor condition, with overall spotting.[Albumen print, 310x370mm]. View looking towards side chapel on the west side of the smaller temple, showing back wall of Matrikas with Karttikeya and Ganesha. View looking towards side gallery. Print in very poor condition, with overall spotting.[Albumen print, 308x369mm]. View looking towards Sir Thomas Brock's statue of the young Queen Victoria in the Queen's Hall.[Gelatin silver print, 120x165mm]. View looking towards site of house, with labourers at work. Innermost Asia, vol. 1, fig. 98: 'Ruined dwelling, N. XLII, Niya site, seen from north in course of clearing.' (I.A. Map 19, B1). View looking towards small isolation block. Precise location unidentified. A typescript note on the reverse of the print reads: 'Showing isolation block attached to the office of the Director, Civil Veterinary Department, United Provinces. These buildings were erected during the years 1926 and 1927. The foreground, left side, shows the Pharmacy building which is furnished with the latest drugs and equipments. The foreground right side shows part of the horse isolation ward and in the front of that is the isolation ward for dogs. A part of which is especially equipped for the isolation of suspected rabid cases in dogs or for the anti-rabic treatment for dogs suspected of having been bitten by rabid animals'. View looking towards small pagoda.[Printing-out paper, 83x126mm]. View looking towards small thatched bungalow on stilts in a forest clearing.[Printing-out paper, 130x82mm]. View looking towards Smith's cupola. View looking towards south-east corner of the Potala. View looking towards south fa�ade of the tomb, with the mosque (partially concealed by wall in foreground) at the left. Duplicate (later printing) of Photo 1000 (3209). View looking towards standing brick wall, partially obscured by foreground vegetation. Doors and windows are set within a blind arcade running the length of the wall. Plate 31 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). View looking towards steps and entrance gateway. Letterpress continues: 'The road which leads to this, is, on festival days, crowded with Burmese, men, women, and children, in gay silks and muslins carrying offerings to the Pagoda'. View looking towards steps leading up to entrance. View looking towards stone bath. From north-west. View looking towards stone elephant (lower portion olnly surviving). View looking towards substantial bungalow, presumably Ramsden's residence. View looking towards substantial walled complex, with hills beyond. View looking towards temple, a building in Chinese style largely obscured by trees. Possibly photographed during the Burma-China Boundary Commission of 1898-9 View looking towards temple, with stone swing in foreground.[Gelatin silver print, 79x53mm]. View looking towards temple buildings, with small tank in foreground. View looking towards temple enclosure, with perimeter wall and entrance in foreground.[?Collodion printing-out paper, 209x153mm]. View looking towards temple entrance, the doorway flanked by guardian chinthes.[Albumen print, 240x189mm]. View looking towards temple gopura, with stone lamp column in front on the left. Duplicate of Photo 1008/9 (2519).[202x154mm]. View looking towards temple gopura. Caption notes read: 'The temple is held in great veneration by the Maharajas of Mysore. It was built A.D. 1128, and the Maharaja, Krishna Raja Wodeyar III, repaird the shrine and furnished it with a tower in 1827, and in 1848 presented the temple car used in religious processions. The temple is dedicated to the goddess Chamundi...' View looking towards temple mandapa.[?Collodion printing-out paper, 208x154mm]. View looking towards temple on Bindu Sagar tank. View looking towards temple pagoda, in ruinous condition.[Printing-out paper, 148x112mm]. View looking towards temple pagodas, with a pair of chinthes (guardian figures) flanking the entrance path in the foreground. A young monk holding a food bowl stands between the figures.[Printing-out paper, 151x103mm]. View looking towards temple porch. View looking towards temple vimana, with part of the nandi pavilion visible in the right foreground.[Gelatin silver print, 163x120mm]. View looking towards temple with pantiled roof. The copy of this print at Photo 1000 (2256a) is identified as the Tripurantaka Temple. With a group of stone shashanas in the foreground. The text areas of the stone have been whitewashed to make the inscriptions clearer.[Albumen print, 241x210 mm]. View looking towards thatched houses built in the temple grounds, with Cambodian figures posed in foreground.*Extra print, not included in original published version.[Albumen print, 93x82mm]. View looking towards the altar. View looking towards the arcade of cusped arches of the Nand Bhavan. View looking towards the arched doorway of the porch. View looking towards the arched entrance, with jataka plaques visible affixed to the side wall. This is a man-made covered passage or tunnel rather than a natural cave. View looking towards the arched gateway known as the Toran Pol. View looking towards the back wall of the hall. View looking towards the bridge and statue from the east.[Platinum print.] View looking towards the building, of recent construction when the photograph was taken, with figures posed in the street in the foreground. Similar to pl. 57 of E.C. Impey, Delhi, Agra, and Rajpootana, illustrated by eighty photographs (London, 1865) and a variant of Photo 1000 (2164a). India Museum no. 175. View looking towards the building from the road. View looking towards the canal regulator, largely completed, but with some construction work still evident. View looking towards the cave, which has a verandah with an outer parapet wall from which rise two pillars supporting the outer eave of the verandah. The doorway beyond can be seen in better detail in print 2184. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 48-49. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1285). View looking towards the cave, which has a verandah with an outer parapet wall from which rise two pillars supporting the outer eave of the verandah. The doorway beyond can be seen in better detail in print 2184. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 48-49. View looking towards the cave temple fa�ades from the north-east. View looking towards the central iwan on one fa�ade of the tomb. View looking towards the central shrine and nandi pavilion in the centre, with three of the four surrounding shrines also visible. The whole complex is raised up on a platform. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 49-50. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1277). View looking towards the central shrine and nandi pavilion in the centre, with three of the four surrounding shrines also visible. The whole complex is raised up on a platform. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), pp. 49-50. View looking towards the Chalet Kiosk in the grounds of the Yildiz Palace, with an ornamental pool in the foreground.[Albumen print, 259x199mm]. View looking towards the Chand Minar, with the Citadel beyond. The baradari (print 77) is on the skyline.[Gelatin silver print, 288x231mm]. View looking towards the Chand Minar and the Jami Masjid.[Gelatin silver print, 285x235mm]. View looking towards the Char Minar. View looking towards the church, partially obscured by trees. View looking towards the church, with the memorial to Noel Williamson and John Duncan Gregorson, killed by Abors in 1911, in the foreground. Their deaths precipitated the Abor Expedition of 1911-12.[Silver printing-out paper, 107x153mm]. View looking towards the church; Parsonage partially visible at right. View looking towards the Citadel, with fort walls in the foreground. The Chand Minar can be seen on the extreme right in the distance.[Gelatin silver print, 286x238mm]. View looking towards the Citadel, with the tents of the Infantry Hospital in the foreground.[Albumen print, 281x219mm]. View looking towards the Citadel (with the Baradari near the summit), with the Chand Minar on the right and fort walls in the foreground.[Gelatin silver print, 286x235mm]. View looking towards the cluster of caves. View looking towards the colonnade of pillars, originally from a Hindu temple. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. vii (b), and described p. 43. View looking towards the colonnade of pillars, originally from a Hindu temple. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. vii (b), and described p. 43. View looking towards the colonnade of the outer courtyard. View looking towards the columned entrance of the temple, with the interior (in darkness) beyond. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1305). View looking towards the Council House. View looking towards the covered entrance, with elaborately carved wooden roof. Dated '1903' above doorway. Print in poor condition, with several folds and tears and some retouching.[Gelatin silver print, 237x290mm]. View looking towards the covered entrance and pyatthats, with flanking chinthe figure. View looking towards the dak bungalow.[Silver printing-out paper, 103x75mm]. View looking towards the Darya Daulat Bagh. Poor quality print. View looking towards the decorative brick fa�ade of the tomb; the dome is largely concealed by vegetation. 'Proceeding a short distance further on the road, we come upon the tomb of Sultan Ghiyauddin, known as the Eklakhi Mosque, and built of embossed bricks and hornblende combined. The building is eighty feet square, and covered by one dome. It is believed to contain the remains of Sultan Ghiyasuddin, his wife, and his daughter-in-law. The tomb is a remarkable instance of the use of Hindu materials in the erection of a Muhammadan mausoleum, for both doorposts and lintels are covered with Hindu carvings. There is no inscription to show the date of erection.' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 113).[Woodburytype, 234x185mm]. View looking towards the Delhi Gate of the fort.[Albumen print, 246x164mm]. View looking towards the Delhi Gate of the Fort. View looking towards the Dharmarajika Stupa, with the Jain temple in the foreground. View looking towards the Diwan-i-Am. From west. View looking towards the domed mosque, with two tombs, with curved, Bengali-style eaves, off to the left. Described in J. Wise, Notes on Sunargaon, Eastern Bengal (Journal of the Asiatic Society of Bengal, vol. XLIII, part I, Calcutta, 1874), p. 89: '...This latter is called the dargah of Khundar Muhhamad Yusuf. It contains the tombs of the saint, of his father, and of his wife. It consists of two elongated, dome-roofed buildings, each surmounted by two pinnacles covered with or formed of gold...These tombs are destitute of any ornament inside...Close to the tombs is a modern Masjid with a 'kitabah', or inscription, dated A.H. 1112 (A.D. 1700). It was probably erected by the Pir Muhammad Yusuf...' India Museum no. 811. Duplicate of Photo 1000 (2731). View looking towards the domed tomb. This is presumably the Ziarat of Kamal-shah at Zidi, described by Stein as 'a well-known place of pilgrimage' (Gedrosia, p. 173). View looking towards the domed tower of the shrine. View looking towards the domed towers of the temple. View looking towards the domes of the mosque, the rest of the building largely concealed by vegetation in the foreground.[Albumen print, 259x184mm]. View looking towards the domes of the Moti Masjid, framed by an archway of the Diwan-i-Khas.[Lantern slide, 75X75 mm]. View looking towards the doorway, with sculpture on the architraves, flanking pilasters and lintel. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1286). View looking towards the doorway of the Baghdad Kiosk, inlaid with mother of pearl and showing surrounding tilework decoration.[Albumen print, signed 'Abdullah Fr�res' in the negative, 200x252mm]. View looking towards the dooway of the tower above the Divan, showing decorative tilework of walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 198x259mm]. View looking towards the double-storeyed mandapa of the temple.[?Collodion printing-out paper, 151x208mm]. View looking towards the dzong, with the river in the foreground. View looking towards the dzong, with the river in the foreground. View looking towards the dzong. View looking towards the earthquake shattered pagoda, with the massive bell in the right foreground. The bell has the name 'D.N. Aspinall' and date '27/8/87' painted or chalked on its side.[Albumen print, 271x203mm]. View looking towards the east fa�ade of the building. View looking towards the Elephant Gate, with Palace buildings beyond. View looking towards the entrance, with an archway flanked by two elephants carved in relief. Cave No. 3 in the series. With entrance to the Alakapuri Cave at the right. This cave can also be seen at the right of prints 393a-b. View looking towards the entrance, with characteristic carved wooden gable above the doorway, with the free-standing column on a square base in the foreground. View looking towards the entrance, with three Buddhist monks standing in the archway.[Gelatin silver print, 199x152mm]. View looking towards the entrance.[Albumen print, 379x300mm]. View looking towards the entrance.[Gelatin silver print, 129x78mm]. View looking towards the entrance.[Gelatin silver print, 129x80mm]. View looking towards the entrance archway of the Ali Qapu Palace, with the throne room on the open verandah area of the first floor. View looking towards the entrance doorway, with a richly carved archway in the foreground. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1282). View looking towards the entrance from lower down the hill. View looking towards the entrance gatehouse and outer walls of the Peshwa's Palace (Junawada), with a vegetable market on the open space in the foreground. The palace itself was burnt down in 1827.[Albumen print, 228x183mm]. View looking towards the entrance gatehouse of the enclosure, with temple towers visible beyond.[?Collodion printing-out paper, 210x152mm]. View looking towards the entrance gateway, flanked by two massive chinthes. Print unsigned, but probably by Felice Beato. View looking towards the entrance gateway. View looking towards the entrance gateway to the Amba Vilas Palace. View looking towards the entrance gopura and mandapa of the Chennakeshava Temple, with the carved stone lamp-column in the foreground. View looking towards the entrance of the building, which is largely obscured by trees in the foreground.[Albumen print, 195x138mm]. View looking towards the entrance of the corrugated-iron building, with boiler components in the foreground.[Printing-out paper, 305x243mm]. View looking towards the entrance of the Kalyana mandapa, showing the elaborately carved supporting pillars (in the form of rearing yalis) and small nandi in the foreground. View looking towards the entrance of the largely ruinous temple. The print is identified as the 'large temple' in the caption, but this appears to be a mistake: the description of the location accords with that of the smaller temple given in the printed list of the views. India Museum no. 843. Duplicate of Photo 1000 (3350). View looking towards the entrance of the masonry shrine. A banyan tree appears to be growing from the centre of the structure. Small format print, amateur quality. View looking towards the entrance of the masonry shrine. A banyan tree appears to be growing from the centre of the structure. Small format print, amateur quality. View looking towards the entrance of the Quarters of the White Eunuchs at the east side of the second court of the Topkapi Palace. The doorway is flanked by trompe l'oeil paintings. A group of officals stand in front of the doorway.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x201mm]. View looking towards the entrance of the Sakhigopal Temple, flanked by two stone lions and with a pillar in front. For a detailed description of the temple, see R.P. Mohapatra, 'Archaeology in Orissa' (Delhi, 1986, vol. I, pp. 183-185).[Gelatin silver print, 197x296mm]. View looking towards the entrance of the Shrine of the River Goddesses. View looking towards the entrance of the temple, which consists of three openings between two rough arches. The surrounding rock-face has been crudely cross-hatched to form incised squares. View looking towards the entrance of the temple, which consists of three openings between two rough arches. The surrounding rock-face has been crudely cross-hatched to form incised squares. View looking towards the entrances of the two rock-cut temples. 'Patur is twenty miles south of Akola. The caves here, two in number, are excavated in a low cliff on the hillside about half a mile west of the town. They are very plain with heavy square pillars, and consist of a verandah and shrine, the latter being empty. There is nothing within the caves to show what religion they were cut for, unless it be the short inscriptions, not yet deciphered, which are carved upon the pillars and architraves...Lying outside the caves, a few yards in front of them, is a portion of a seated cross-legged statue, apparently Jaina. It is not unlikely the caves were Jaina' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 3). View looking towards the entrance to the gardens at Achibal.[Silver printing-out paper, 100x74mm]. View looking towards the entrance to the hotel from the driveway, with servants posed in the foreground. The entrance porch is shaded with a thatch roof, with a verandah of coupled ionic columns above. View looking towards the excavated gate of the ruins of the ancient city of Sravasti, with diggers posed in the foreground. For a detailed account of the excavations at this time, see J.Ph. Vogel, Excavations at Saheth-Mahet in Archaeological Survey of India. Annual Report 1907-08 (Calcutta, 1911), pp.81-131. View looking towards the exterior wall and domed Shah Najaf, tomb of Ghazi-ud-Din Haidar, with thatched mess house in foreground. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 301x244mm]. View looking towards the factory buildings, with a light railway locomotive in the foreground.[Printing-out paper, 302x248mm]. View looking towards the fa�ade of the building, in ruinous condition and with a large tree growing from inside the structure: 'The Fauti of 'Burial Mosque', and several others, lie scattered about in ruins. The finest of these remains are those of the Sona Masjid or Golden Mosque, which has an inscription over the door, giving the year A.H. 974 (A.D. 1566) as the date of its erection. It was built by a merchant named M'asum, whose brother built the caravanserai close by.'[Woodburytype, 223x183mm]. View looking towards the Fenerbah�e lighthouse on the Scutari coast.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x200mm]. View looking towards the fort known as Miri-kalat, and situated about five miles north-west of Turbat. Top of fort out of frame. View looking towards the free-standing arcaded tower, with a corner of the durbar hall in the left foreground. Apart from the lack of a pyramidal top, the tower is similar to the Kalyana Mahal at Gingee. View looking towards the gallery of the palace, with bodyguard on parade in court in foreground. Another copy at Photo 1000 (2283a).[Albumen print, 287x235mm]. View looking towards the Ganesh Pol from the courtyard, with a corner of the Diwan-i-Am visible in the left foreground. Photograph by Colin Murray for Bourne and Shepherd. View looking towards the gate, partially concealed by houses in the foreground. Reproduced as a photogravure in H.H. Cole, 'Preservation of national monuments in India' (vol II, 1884, part 8, Meywar), pl. 4: 'Near the Tower of Victory stands a fine stone temple, the Mokul-ji-ka-Mandir - dating from the 15th century A.D....North and east of this temple are two gate buildings, that to the east, here represented, opens into the street of the Sindhi Bazar, and the mud houses which encroach on it right and left might with great advantage be removed. The architecture of the gate is purely Hindu; the delicate carvings are applied with taste, but vegetation is destroying the fabric, which, unless speedily strengthened, will fall to the ground.' View looking towards the gate, partially concealed by houses in the foreground. Reproduced as a photogravure in H.H. Cole, Preservation of national monuments in India (vol II, 1884, part 8, Meywar), pl. 4: 'Near the Tower of Victory stands a fine stone temple, the Mokul-ji-ka-Mandir - dating from the 15th century A.D....North and east of this temple are two gate buildings, that to the east, here represented, opens into the street of the Sindhi Bazar, and the mud houses which encroach on it right and left might with great advantage be removed. The architecture of the gate is purely Hindu; the delicate carvings are applied with taste, but vegetation is destroying the fabric, which, unless speedily strengthened, will fall to the ground.' View looking towards the Gate of Salutations (the Ortakapi or Middle Gate), the principal entrance to the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x202mm]. View looking towards the gateway, flanked by octagonal, domed towers, of the great tank known as the Taj Bauri. Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cx (a), and described pp. 123-124. View looking towards the gateway, flanked by octagonal, domed towers, of the great tank known as the Taj Bauri. Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cx (a), and described pp. 123-124. View looking towards the gateway, with its tall, tiered roof. View looking towards the gateway, with its tall, tiered roof. View looking towards the gateway, with the back of the Bara Gumbad Mosque (partly obscured by trees) in the left foreground. View looking towards the gateway into the fort. View looking towards the gateway of the Citadel. View looking towards the gateway of the Jagannatha Temple at Puri, with stone lamp column in foreground.[Albumen print, 197x159mm]. View looking towards the gateway on the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x198mm]. View looking towards the gateway to the mosque. Print in poorish condition, with overall spotting.[Albumen print, 306x372mm]. View looking towards the ghats, with temples and other buildings beyond. 'Dasaswamedh Ghat is exceedingly venerated by the natives of the city, as well as by pilgrims and devotees and is much frequented for its sanctity. It is one of the five celebrated places of pilgrimage in Benares.'[Albumen print, 274x214mm]. View looking towards the gopura, seen here under scaffolding in the course of construction or alteration. The annual report for the circle contains correspondence relating to the alterations that were being proposed and/or carried out by the temple managers at this time. View looking towards the gopura, with the 'Golden Tower', a richly-carved and apparently modern structure, in the foreground. View looking towards the gopura of an unidentified temple, with a lamp column in the foreground. The top half of the gopura has been cropped off (the cropped portion can be found on the reverse of print 3).[Albumen print, 163x146mm]. View looking towards the gopura of the Chamundi Temple, with a temple car standing in the foreground. This ornate carved wooden car is surmounted by a throne standing on the back of a carved lion figure. The car was presented to the temple by the Maharaja of Mysore in 1848. View looking towards the gopuras of the Brihadishvara Temple. Clouds painted onto negative. Albumen print, 355 x 254 mm. View looking towards the great arch spanning the front of the durbar hall. View looking towards the great elevated basement of the tomb, surmounted by arches. Described in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 107-109. View looking towards the great elevated basement of the tomb, surmounted by arches. Described in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pp. 107-109. View looking towards the Hathia Paur Gate (Elephant Gate) of the Man Mandir Palace, with decorated bastions in the foreground. Stereoscopic pair. View looking towards the Hathi Pol gateway. View looking towards the Hawa Mahal. View looking towards the Hawa Mahal. View looking towards the house, which stands on a small hill approached by a flight of steps from the monument in the foreground. Caption note reads: 'Cleveland House (vulgo 'Tila Kothi' or 'Mound House') standing just off Cleveland Road (later ineptly renamed Mohasaji Taraknath Ghosh Road), midway between Champanagar and Adampur. Once the residence of that altogether admirable Englishman Augustus Cleveland (1755-1784), Commissioner of Baglipore and pacifier of the 'Jungleterry of Rajmahal'. In the foreground his monument erected by the E.I. Company (marble slab and inscription brought out from England.' View looking towards the inside of the Rumi Darwaza. View looking towards the Jagniwas Palace. View looking towards the Kaliyadeh Mahal, with terraced water gardens in the foreground. Another copy at Photo 2/4 (87). View looking towards the Khalla Burj. From south-east. View looking towards the Kirthi Stambh (Tower of Fame), with a group of cenotaphs in chhatri form in the forefround. View looking towards the Kishan Bhavan, famed by the cusped arch in the foreground.[Albumen print]. View looking towards the Lal Darwaza, with troops on parade in front. View looking towards the Lanka Tilaka (on left), with the Kiri or Milk Dagaba in the background on the right.[Silver printing-out paper, 105x80mm]. View looking towards the main dome of the building. View looking towards the main fa�ade of the building. T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) incorrectly identifies this as the architecturally similar Khirki Masjid. View looking towards the main fa�ade of the Government Civil Hospital (built 1850) and other buildings on the hillside beyond. Notes on the album page identify various locations, including: Terra Vert, Tarrawera, Mount Richmond, Richmond Terrace.[Albumen print, 272x205mm]. View looking towards the main gateway. View looking towards the main tower of the Brihadeshvara Temple, with the Nandi pavilion in the right foreground. A very similar composition to print 16, but judging from the sizes of the trees, taken several years earlier. View looking towards the Mallikarjuna Temple, with another temple in the foreground.Photo 1000 (997) is a reduced copy of this print. View looking towards the mandapa, with the tower of the sanctum beyond. Described in detail in J.D. Beglar, 'Report of a tour...in the Central Provinces, 1873-74' (A.S.I. vol. VII, Calcutta, 1878), pp. 193-195: 'These temples are of stone; the principal one consists of a sanctum and a mandapa: the mandapa is an oblong hall greater in breadth than in length in the direction of the sanctum; it is or was open on all sides [in this view the openings have been bricked up], the roof being supported by four entire pillars in the centre, and dwarf ones resting on benches round the three exterior sides...here the plan is not tame, but rich in variety of light and shade, and the elevation is also richly adorned with bold mouldings and a profusion of sculpture; the temple faces east; it has evidently undergone repair; the mahamandapa having not only at some subsequent period been repaired with brick, but the openings at the side and front between the bench and the roof having been closed with patch-work brick walls. The sanctum of the temple leans over considerably, and the mouldings of the basement have got broken and greatly distorted in consequence.' View looking towards the mandapa of the ruined temple. View looking towards the masonry tank house, with a locomotive of the Dhond-Manmad State Railway and railway staff on the line at the left.[Albumen print, 290x210mm]. View looking towards the massive arcade and entrance. '...The view shows that portion of the building immediately facing you as you enter the court; it is the fa�ade of the Swerga Vilasam, or celestial pavilion, now occupied by the High Court, the entrance to which may be seen in the view...'. Duplicate (later printing) of Photo 1000 (2967). Another copy at Photo 212/2 (27). View looking towards the massive chinthes guarding the entrance to the temple. View looking towards the massive reclining parinirvana Buddha. To the left is the standing Buddha in animisalochana mudra (paying respects to the sacred Bo tree).[Gelatin silver print, 115x87mm]. View looking towards the massive stairway which climbs the hillock toward the Rohtasan Temple, with the little Harish Chandra's Temple in the left foreground. See Kuraishi, op. cit., pp. 169-172. A poor quality print. View looking towards the mihrab (on left, screened off) and minbar. Print in poorish condition, with overall spotting.[Albumen print, 307x377mm]. View looking towards the mihrab (prayer niche), with part of the minbar (pulpit), visible in the right background, showing tilework decoration. Print in poorish condition, with overall spotting.[Albumen print, 385x308mm]. View looking towards the Mihrab (prayer niche) and minbar (pulpit) of the mosque, showing surrounding tilework. Print in poor condition, with overall fading and spotting.[Albumen print, 305x367mm]. View looking towards the minbar (pulpit). India Museum no. 504(b). Duplicate of Photo 1000 (2390). View looking towards the minbar (pulpit). Print in poor condition, with overall spotting.[Albumen print, 373x308mm]. View looking towards the monastery, with a group of Burmese squatting in foreground. The photograph appears to have been taken from an almost identical viewpoint as Willoughby Wallace Hooper's photograph at OIOC Photo 312 (32) and judging by the foliage of the surrounding trees, at a very similar time. It may possibly be by Hooper.[Albumen print, numbered 'W.D. B.5' in the negative, 202x136mm]. View looking towards the monastery buildings. View looking towards the mosque, much of the building obscured by trees. Print in poorish condition, with fading and spotting.[Albumen print, 377x308mm]. View looking towards the mosque, with the tomb in the left foreground. View looking towards the mosque from the street, with shops lining the roadway in the foreground.[Silver printing-out paper, signed 'H.A. Mirza & Sons Delhi' in the negative, 287x208mm]. View looking towards the mosques, with two camels seated in the foreground. When Stein visited the village it was deserted, all the inhabitants having already set out on their hibernal migration down to Sindh to escape the winds of Surab. View looking towards the Moti Masjid. Small faded print. View looking towards the mouth of the newly-completed tunnel, the construction dates 1883-8 carved above the entrance.[Albumen print, 292x241mm]. View looking towards the multi-tiered wooden ordination hall. View looking towards the multiu-tiered roof of the temple. View looking towards the octagonal domed tower built over earlier Hindu shrine. The demolition of this structure was the cause of some problems during excavation work: 'In connexion with the excavations at Rajgir, some slight trouble arose from the removal of the tiny and dilapidated shrine which had been erected on the top of the cylindrical tower referred to above. This shrine, which is known as the Maniyar Math, had long since fallen into disuse as a place of worship, and had lost whatever images it might ever have possessed. No sooner, however, had Dr Bloch begun to remove it than extravagant rumours spread to Calcutta crediting him with all sorts of sacrilege, and an agent was sent down to Rajgir by a wealthy member of the Jain community in order to enquire on the spot into the alleged vandalism. The agent, being an enlightened man, at once appreciated the service that the Government was rendering in bringing to light these remains of an ancient religion, and the incident closed with expressions of good-will on both sides. The little shrine on the top was rebuilt when the excavation had been completed' (J.H. Marshall, 'Annual Report of the Director-General of Archaeology for the year 1905-06'. Part I. - Administrative (Calcutta, 1907), pp. 3-4). View looking towards the octagonal pavilion (one of Jahangir's hunting lodges) in the centre of the tank, linked to the gateway and tower in the background by a causeway View looking towards the octagonal tomb and drum (lacking dome), with European figures standing in foreground.[Gelatin silver print, 82x140mm]. View looking towards the open-sided mandapa: 'Situated in the bed of the river and used on the occasion of an annual festival for the resting place of the god Sundareshwara and his consort Minakshi.' View looking towards the ornate Husainabad Gateway, with bazaar traders on the roadside in the foreground.[Albumen print, signed 'Bourne 1148' in the negative, 294x239mm]. View looking towards the outer walls of the caravanserai, with the main gateway at the left of the print. Described in A. Cunningham, 'Report of a tour in the Punjab in 1878-79' (A.S.I. vol. XIV, Calcutta, 1882), pp. 62-65. View looking towards the pagoda, largely obscured by trees.[Gelatin silver print, 88x138mm]. View looking towards the pagoda. A small format, amateur quality print. View looking towards the pagoda. A small format, amateur quality print. View looking towards the palace buildings taken over for use as Government House, with Indian troops on parade in the foreground. View looking towards the palace from the garden at the foot of the hill. View looking towards the palace or Nandaw, and the gilded spire or Shwepyathat, known to the Burmese as the Centre of the Universe. View looking towards the Pani Mahal. View looking towards the Parshvanatha Basti and lamp column of the Jain temple complex on Chandragiri Hill.[Albumen print, oval image, 151x111mm]. View looking towards the Parshvanathi Basti with its tall lamp-column in the foreground, with the Chamundaraya Basti beyond. For a similar view, from almost exactly the same spot, see Photo 1000 (3269). Print unsigned, but probably by Dixon.[Albumen print, 274x227mm]. View looking towards the partially blocked-up up entrance arch, showing mosaic tile fa�ade. The tomb was that of Afzal Khan. The building is here seen in ruinous condition. Printed from a damaged negative. North-West Provinces list p. 54. View looking towards the pavilion sheltering the monolithic Nandi image in the Brihadishvara Temple, whose main tower with pot-shaped finial can be seen in the background. Original and duplicate negatives, no print. View looking towards the porch of the temple, with the ruined sanctuary building beyond. The upper part of the building is in brick. India Museum no. 844. Duplicate of Photo 1000 (1978) and (3351). View looking towards the porte-coch�re, with Pomeroy's statue of Lord Curzon in the foreground. Enlarged duplicate of print 288.[Gelatin silver print, 257x182mm]. View looking towards the portico. View looking towards the premises of Bathgate & Co and Badham Bros.[Albumen print]. View looking towards the pyramdial, domed sanctuary tower, with adjoining mandapa with entrance facing west. The columns of the entrance have bases carved in the form of lions. View looking towards the Qutb Minar. From south-east. View looking towards the Qutb Minar from the west, with archway and iron pillar in left foreground. With extensive handwritten notes on album page. View looking towards the right side of the verandah, with damaged and fallen columns in foreground. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (508). View looking towards the ruined gateway. View looking towards the ruins of the Residency and Flagstaff Tower, with the shell of the Banquetting Hall in the left foreground. View looking towards the sanctuary tower, with fallen pillars and masonry in the foreground. The temple stands on a small rocky island in the north-west corner of the Madan Sagar. For a description, see J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), p. 24 and North-West Provinces list p. 175. View looking towards the sanctuary tower of the Hariraya Temple. View looking towards the sandstone Ashoka Column which stands among the ruins of the Kushk-i-Firuz. The edict pillar, dating from the 3rd century BC, was brought to Delhi from Ambala by Firuz Shah. The two storey structure with tiers of arches in front of the column, appears to be the baoli or step well.Circular image, 370 mm diameter. View looking towards the school building across a garden.[Albumen print, 200x250mm]. View looking towards the screened gallery (hunkar mahfili) which housed the Sultan and his entourage during services. Print in poor condition, with overall spotting.[Albumen print, 310x373mm]. View looking towards the screen of the Quwwat-ul-Islam Mosque, constructed from the pillars of an earlier Hindu temple. With the base of the Qutb Minar visible in the background. View looking towards the shrine, with a corner of the free-standing mandapa in the right foreground. Bloch's list incorrectly locates the temple in this view at Vizianagram. View looking towards the shrine, with a corner of the free-standing mandapa in the right foreground. T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) incorrectly locates the temple in this view at Vizianagram. View looking towards the shrine in the centre of the Teppakulam Tank.[Gelatin silver print, 98x78 mm]. View looking towards the shrine of the Jain Vardhama Temple. View looking towards the shrine to the left of the main cave, with stone lions flanking the steps to the entrance. India Museum no. 532(a). Duplicate of Photo 1000 (2452). View looking towards the side of the house, with servants posed in the foreground. John Younghusband and Colonel Henry Miller stand in the verandah, while Clara Younghusband is seated in a jampan carried by four bearers in the foreground. For another copy of this print, see Mss Eur F197/36 (14). Photograph attributed to William Baker or John Burke in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), pp. 56-57.[Albumen print, 215x282mm]. View looking towards the side shrine at the far end. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2104). View looking towards the site of the ruined Jain Sobhnath Temple. The domed building at the summit is the remains of a Muslim tomb View looking towards the small shrine, with the basement of the great gopura partly visible at the right. Albumen print, 348 x 274 mm. View looking towards the small tomb at the angle of the perimeter wall. View looking towards the small wooden building housing the press, surrounded by protective stone walls. Print in poor condition, overall yellowing.[Printing-out paper, 322x262mm]. View looking towards the southern face of the Potala, with the Regent's encampment in the foreground. The Regent was about to depart for Samye monastery.[Gelatin silver print, 150x102mm]. View looking towards the southern gateway of the fort.[Albumen print, 83x96mm]. View looking towards the square, double-storeyed pavilion which projects from the north exterior wall of Jodh Bai's Palace. Described in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 2, pp. 32-34. View looking towards the station, with the stone bridge over the Cochrane Canal in the foreground. Photograph unsigned, but probably by Nicholas & Co. View looking towards the statue of Raja Sivaji, here credited to Chantrey, but in fact by Flaxman. See note at Photo 212/4 (35). View looking towards the stone dais forming the pulpit: 'Behind him is a large picture of Tsongkapa in centre, with his two chief disciples below him and white Drolma in the upper corners. The Ti Rimpoche is not allowed to sit on the Dalai Lama's platform. He sits on the platform below at the top of the stone steps. The roof is carved woodwork; on it can be seen the yak hair curtain drawn up to enable me to take my photograph.' View looking towards the stupa. View looking towards the stupa with the north gate in the foreground. Large cracks are visible in the stonework of the stupa and a several trees are growing on the structure. View looking towards the subsided ghat, with temples and other buildings in the foreground. 'This Ghat is remarkable not only for the massiveness of its masonry, but also from the circumstance that the entire structure has sunk several feet into the earth since its erection and is still gradually and slowly sinking. It was built by Sri Mati Baija Bai, widow of Sri Maut Daulat Rao Sindhia Bahadoor of Gwalior, and has been left incomplete.'[Albumen print, 274x214mm]. View looking towards the summit of Rajagiri Hill, with the walls of the fort descending the hillside in the foreground. View looking towards the tazoung or devotional chapel, a square open-sided wooden pavilion with tiered roof. With lion statues in the foreground. Letterpress continues: 'The base of the Pagoda is ornamented by brickwork lions, having altars for offerings before them; their necks and the scrolls above them are inlaid with a mosaic of mirror - in the panelling behind too, were squares of mirror, the rest having once been gilt; the effect of the whole must have been very brilliant'. View looking towards the telegraph office, two small thatched buildings raised on piles in Burmese style, with a monastery and temple pagoda in the background. View looking towards the Teli-ka-Mandir (under restoration, with scaffolding along one fa�ade), with a tank in the foreground. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View looking towards the Teli-ka-Mandir (under restoration, with scaffolding along one fa�ade), with a tank in the foreground. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View looking towards the temple, showing additions. View looking towards the temple, with a fence of posts in the foreground. Letterpress continues: 'This was stockaded when the Pagoda was held by us against the Burmese'. View looking towards the temple, with the Raja Mahal beyond and the hill in the background. Duplicate of Photo 1008/9 (2260). The print in this album is a clearer image.[212x156mm]. View looking towards the temple, with the torana ('of a very unique style and exquisite beauty', Beglar) in the foreground. Detailed description in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72... (A.S.I. vol VII, Calcutta, 1878), pp. 69-75. View looking towards the temple, with the Yamuna River in the foreground. View looking towards the temple gopura, with the temple car in the left foreground. Photo 1000 (1084) is a reduced and cropped copy of this print. View looking towards the temple mandapa, with an Indian figure seated in the foreground. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1395). View looking towards the temple mandapa, with the towers of the cells beyond. Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 125-126: 'Armori is a village of small importance [about 60 miles north-east of Chandrapur]: it contains one temple, perched on a high mound; the temple is curious, consisting of three cells, each surmounted by a tower roof; all the cells open into a common mandapa, or hall: the temple faces east, and is Saivic; figures of Gane�a occupy the centres of the architraves of the entrance; the mandapa is open on three sides...the pillars and half pillars are massive and plain...Tradition ascribes this temple to Raja Hara Chandra Gond...' View looking towards the temple sanctuary, a square structure with double tiered roof, with the mandapa in the foreground. View looking towards the thein (or sacred pavilion, an open-sided building with an ornate tiered roof in eight layers). Pagoda largely obscured by trees. View looking towards the throne, with a drinking fountain flanked by two grandfather clocks in the right foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x202mm]. View looking towards the tiered gilded roof or shwepyathat of the Nandaw. View looking towards the tiered roofs of the palace, at this time occupied by the British and used as Government House.[Printing-out paper, 98x69mm]. View looking towards the tiered wooden tower. Plate 13 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893). View looking towards the tomb's gateway. From north. View looking towards the tomb's gateway. From west. View looking towards the tomb enclosure. View looking towards the Tomb of Jamshid Qutb Shah, with Indian figures posed in the foreground. 'The centre and highest tomb of this group is that of Bibbi Miriam, or, as it is most commonly designated, 'the octagonal', from its being built in that shape. Like most of the tombs of Golconda, you can ascend to its dome by means of spiral stone stairs, and after the tomb of Kullee Kootub Shah, it affords the best position from which you can obtain a commanding view nof the 'City of the Dead'.'[Albumen print, 203x159mm]. View looking towards the Tomb of Muhammad Quli Qutb Shah. 'The tourist who travels to India in search of the grand and picturesque, will scarcely meet in the 'Land of the Sun' a more splendid monument of its bygone greatness than awaits him when, after toiling up the narrow spiral stairs of the tomb of Kullee Kootub Shah, he stands on the landing at the base of its dome, and rests his weary frame on the parapet that surrounds it. All around beneath him, in mouldering ruins, lies the 'City of the Dead', its majestic domes and minarets towering above the tall cocoa and palm trees, that make but a pigmy attempt to lift their tops as high as the former. Unfortunately for the art, photographs are but 'bits of scenes', and the photographer is compelled to select the 'bits' in the subject-matter of scenery that are best suited for a photograph. It was the artist's intention to take, in a series of plates, a connected view of the 'City of the Dead', as seen from the tomb of Kullee Kootub Shah on all sides; but fearing that the same continued subject would fail to interest, and labouring under many photographic difficulties in the accomplishment of it, he was compelled to abandon the scheme. However, by placing the Fort of Golconda (No. 9) to the left of this view (No. 5) and Nos. 6 and 7 in succession to the right of it, you will have a pretty fair connected view of the 'City of the Dead', from south-east to west, as seen from the spot where this photograph was taken.'[Albumen print, 248x198mm]. View looking towards the tombs of Shaikh Salim Chishti and Islam Khan along the north wall of the courtyard of the Jami Masjid. Poor quality print, faded and yellowed. View looking towards the tombs of Sultan Quli Qutb Shah and Jamshid Quli Qutb Shah. 'Grom usage we give the term general to a bit of view; but this is all of the beautiful subject before him, that the artist's apparatus could take in on a photograph of this size. Had he that famous panoramic camera that is reputed give a hundred degrees of picture, he might take with it from the spot where this was photographed a view which, in grandeur of subject, could not be excelled by any in India. This view was taken from the same position as No. 5, the camera being merely shifted a little further towards the west.'[Albumen print, 239x195mm]. View looking towards the tower, with a temple in the left foreground.[Printing-out paper, 282x206mm]. View looking towards the Tower of Justice (Adalet Kulesi) above the Divan. The tower is built in European classical style.[Albumen print, signed 'Abdullah Fr�res' in the negative, 202x259mm]. View looking towards the towers flanking a gateway in the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View looking towards the triple-arched gateway. View looking towards the two tombs, known by the collective title of Jor or Jod Gumbaz ('twin domes'). Reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xcvi (b), and described pp. 113-114. View looking towards the two tombs, known by the collective title of Jor or Jod Gumbaz ('twin domes'). Reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xcvi (b), and described pp. 113-114. View looking towards the unfinished Raya Gopura (on the east side of the temple), with the Pudu Mandapa and the East Gopura visible beyond. View looking towards the Vaidyanatha Temple. View looking towards the wall, showing inner faces of embrasures. Duplicate at Photo 3/2 (80). View looking towards the wall, showing three mihrabs (prayer niches) and the minbar (pulpit). Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 30. View looking towards the wall, with sculpture of foreparts of three elephants supporting relief carvings of multi-storied buildings. India Museum no. 518(a). Duplicate of Photo 1000 (2416). View looking towards the wall running to the south-east gate. View looking towards the walls of the palace known as the Ark.[Silver printing-out paper, 141x73mm]. View looking towards the west fa�ade of the gopura. Negative degenerated in top right hand corner, showing in sky area of print. View looking towards the west fa�ade of the gopura. Negative degenerated in top right hand corner, showing in sky area of print. View looking towards the west gopura of the Ramalingeshvara Temple. View looking towards the wing to the left of the central portion seen in print 60. Buildings partly obscured by banyan tree in foreground. View looking towards the wooden coffin standing on a cairn of stones below the houses on a steep hillside. Sterescopic views. View looking towards the zayat or rest house.[96x122mm]. View looking towards throne room (in ruinous condition). View looking towards Tibetan house. European figure standing in courtyard. This is the same building seen on the left in print 29. Poor quality print. View looking towards tirthankara image, with sculptured columns in the foreground. India Museum no. 81. Duplicate of Photo 1000 (2075a). View looking towards tomb, largely obscured by vegetation. View looking towards tomb, with group standing in front. View looking towards tomb from garden. From south. View looking towards tomb from garden. From south-east. View looking towards tomb from south. View looking towards tombs, the structures partly concealed by foreground vegetation. In the left foreground is the Tomb of Muhammad Quli Qutb Shah, in the right background that of Jamshid Quli Qutb Shah. 'This view is the same as No. 5, being merely taken with a smaller lens, and from a position about 60 feet lower than the spot from which the latter was photographed. The precise spot from which it was taken is that occupied by a party of sportsmen, who may be seen standing on the left wing of the tomb of Kullee Kootub Shah. The foliage in the foreground of this picture represents a portion of the beautiful orange and mango groves which encircle the last-mentioned tomb on all sides.'[Albumen print, 202x156mm]. View looking towards tombs. View looking towards towered shrine, with gopura and lamp column at left. View looking towards Tower of Victory, with tombs in pavilion style in foreground. View looking towards two distant thatched bungalows set beneath a hill. Two Indians are posed in the foreground. View looking towards two gateways in the fort wall. View looking towards two gateways with richly-carved architraves. View looking towards two pillars at the entrance to the cave. View looking towards two shrines. View looking towards two-storeyed gateway (on skyline) on the summit of Hemakuta Hill, with several small temples in the foreground. Duplicate (later printing) of Photo 1000 (3150). View looking towards two-storeyed shrine. View looking towards two tombs, the further one being that of Muhammad Quli Qutb Shah. 'The tombs represented in this photograph are situated a little to the north-east of the tomb of Sultan Ibrahim. There is such a sameness in the architecture of the domed tombs of Golconda, as can be seen in the general view, No. 10, that the artist fears that the pictures would appear too monotonous, were he to publish all the photographs he has taken of them; but, should any party wish to possess every individual tomb in Golconda, the artist can supply them, as he has taken every inch of the 'City of the Dead' on a set of 75 stereoscopic plates, which he will be very happy to dispose of, together with about 250 more of the same class of negatives (stereoscopic), representing Indian life and scenery in different parts of the country, and which are not inferior to the present collection that he publishes, either as regards the quality of the negatives or the subject-matter on them. Address - Secunderabad, Deccan.'[Albumen print, 240x188mm]. View looking towards unexcavated mound. View looking towards unfinished gopura, with mandapa in left background. View looking towards unidentified arched gateway. The print appears to have been trimmed down from a larger image.[Albumen print, 128x145mm]. View looking towards unidentified ruins, partially obscured by foreground trees.[102x75mm]. View looking towards unidentified temple pagoda on scrub-covered hillside, possibly in the Sagaing Hills. Print in poor condition, with overall fading and yellowing.[Printing-out paper, 155x110mm]. View looking towards verandah, with entrance supported on two square-and octagon sectioned pillars. A linga shrine is visible beyond, with two other lingas on either side of the verandah. Printed from a broken glass plate. View looking towards verandah, with entrance supported on two square-and octagon sectioned pillars. A linga shrine is visible beyond, with two other lingas on either side of the verandah. Printed from a broken glass plate. View looking towards verandah and ogee-arched doorway. View looking towards vimana. View looking towards wall (largely concealed by trees and vegetation). View looking towards wall and gateway. View looking towards walled enclosure, with dome of tomb visible beyond. View looking towards walled enclosure containing unidentified building, possibly Ali Khan's Tomb.[Albumen print, 216x171mm]. View looking towards walls and fort buildings on hillside, with two Europeans, bearers and servants posed in the foreground. One of the Europeans is possibly Dixon. India Museum no. 630. Duplicate of Photo 1000 (2253a) and (2573). View looking towards walls of ruined mosque. View looking towards window, with surrounding wall painting. A very poor quality photograph, useless for purposes of documentation. View looking up a flight of steps towards the Walkeshwar Temple.[Albumen print, 230x185mm]. View looking up almost sheer rock face towards fort walls. View looking up a staircase, through an elephant gate, towards a temple. View looking up a stone stairway towards the entrance to the citadel. View looking up a wide flight of stone steps leading to the Potala. View looking up directly toward centre of dome. View looking up driveway towards house, with Major (later Colonel Sir) Armine Brereton Dew (1867-1941), Political Agent, Gilgit 1908-12, standing on the entrance steps.[Silver printing-out paper, 120x93mm]. View looking up flight of steps towards arched gateway. Duplicate at Photo 3/2 (89). View looking up flight of stone steps towards the gateway and walls. Duplicate at Photo 1008/8 (2245).[204x152mm]. View looking up hillside towards base of stupa, on which a European couple are seated. The man is John Hubert Marshall, Director General of the Archaeological Survey. The woman is presumably his wife Florence. View looking up hillside towards buildings: 'The administrative portion (Labrang), in its wood of juniper trees, 14,000 ft. above sea level. Our rooms were those on the top storey on the extreme left. In this part of the monastery are kept stores of food, clothing, etc. for the monks, and here the officers who administer these supplies live, as well as the Head Lama (Hutuk-tu) and the Dalai Lama when he visits here. The main chapels, assembly halls, etc. are in a separate building. The monks' dwellings are again separate between this latter building and the Labrang. On the left is a prayer pole (Tar-shing). The prayers, written on thin cloth obtained from India, are wrapped round the pole. In Sikkim they are attached like flags, but in Lhasa and the uplands of Central Tibet they are bound round the pole; otherwise the strong winds would quickly carry them away.' View looking up hillside towards bungalow raised on piles. Precise location uncpecified, possibly at Tamu.[Printing-out paper, 101x65mm]. View looking up hillside towards fort. Duplicate at Photo 1008/6 (795).[199x153mm]. View looking up hillside towards massive boulder at summit.[Gelatin silver print, faded, 55x80mm]. View looking up hillside towards monastery buildings. View looking up hillside towards temple, tower and surrounding houses. View looking up hillside towards the fortified outer walls. Duplicate of Photo 1008/9 (2324).[Silver printing-out paper, 213x158mm]. View looking up hillside towards the wooden bakery buildings.[Printing-out paper, 320x260mm]. View looking up into interior of small dome. View looking up paved pathway and along the southern face of the Potala.[Gelatin silver print, 104x158mm]. View looking up ramp towards gateway. Duplicate at Photo 3/2 (90). View looking up slipway towards the lifeboat shed, with two boats inside and lifeboatmen on parade.[Printing-out paper, 308x248mm]. View looking up slope towards the sanctuary tower. View looking up steps leading to balcony, with the tiered roof of the monastery beyond. Letterpress continues: 'In the same enclosure as Kyoung No. 86 [Maha-too-lo-Bounghian Kyoung]. View looking up steps towards the main entrance of the Kalan Masjid. View looking up stone ramp towards gateway and walls. Duplicate at Photo 1008/8 (2246).[203x153mm]. View looking up the aisle towards the chancel. View looking up the carpeted entrance staircase, flanked with suits of armour.[Albumen print, 309x383mm]. View looking up the flight of stone steps towards the gateway and surrounding walls. Duplicate at Photo 1008/9 (2336).[202x153mm]. View looking up the flight of stone steps towards the shelter. View looking up the hillside towards houses on Richmond Terrace.[Albumen print, 288x206mm]. View looking up the hillside towards one of the five chortens. View looking up the hillside towards the citadel on the summit. View looking up the hillside towards the house. View looking up the hillside towards the outer walls of the palace. View looking up the hillside towards the school buildings.[Albumen print, 253x195mm]. View looking up the hillside towards the temple. Madras list p. 301: 'On a little hillock near Ramesvaram stands a peculiarly-constructed temple or mandapam of two storeys. It is here, according to tradition, that Hanuman ascended, in order to get a view of Lanka; and from the same place that, on his return, Rama harangued his monkey hosts and arranged the order of battle.' View looking up the hillside towards the temple. Madras list p. 301: 'On a little hillock near Ramesvaram stands a peculiarly-constructed temple or mandapam of two storeys. It is here, according to tradition, that Hanuman ascended, in order to get a view of Lanka; and from the same place that, on his return, Rama harangued his monkey hosts and arranged the order of battle.' View looking up the hillside towards the tower. View looking up the hillside towards the upper part of the site. View looking up the hillside towards the walls of the fort. View looking up the hill towards the Chandella temple. View looking up the hill towards the church.[Gelatin silver print, 57x80mm]. View looking up the hill towards the stone platform, possibly a watchtower, but generally known as Pippala's Residence View looking up the long flight of stone steps towards the fa�ade of the church. Letterpress continues: 'This magnificent place was destroyed by fire in 1835, it has never been rebuilt, all that remains is the front as seen in view - the front is built of granite, beautifully worked, the images between the columns are of bronze, and the idea of the great height of this can be formed when it is mentioned that the cross at the top of building is itself sixty feet high [?sixty feet from the ground] - within the walls is now a cemetery - on the right is a private house.' Photograph probably taken before 1874, when the house on the right was severely damaged by fire during the typhoon (see Photo 337/2 (27)), unless it was subsequently rebuilt in the same style. View looking up the road that leads to the entrance gate. View looking up the steep flight of stone steps towards the entrance above.[Albumen print, 168x227mm]. View looking up the steep hillside towards the temple. North-West Provinces list p. 116. View looking up the stepped pathway towards the palace.[Gelatin silver print, 92x141mm]. View looking up to a temple perched on a hill. View looking up towards balcony pavilion. View looking up towards bastion. View looking up towards buildings at the summit of the hill. Duplicate at Photo 3/2 (68). View looking up towards carvings in dome of Neminatha Temple. View looking up towards ceiling, showing deeply undercut carving of dome. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1334). View looking up towards ceiling, showing deeply undercut carving of dome. View looking up towards dome (with brickwork exposed). View looking up towards fort.[?Matt collodion printing-out paper, 186x130mm]. View looking up towards gallery and railing. View looking up towards horseshoe shaped window and surrounding sculpture on fa�ade. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2093). View looking up towards horseshoe shaped window and surrounding sculpture on fa�ade. Stereoscopic view. Duplicate of Photo 1000 (2093a). View looking up towards mosaic of Christ and his ancestors in the south dome of the inner narthex of the Kariye Cami (formerly the Church of St Saviour in Chora). [Albumen print, 358x307mm]. View looking up towards mosaic of Christ going to the temple. Print in poorish condition, with overall spotting.[Albumen print, 303x369mm]. View looking up towards mosaic of Christ healing the sick in the east lunette in the fourth bay of the outer narthex and part of dome. Print in poorish condition, with overall spotting.[Albumen print, 376x305mm]. View looking up towards mosaic of Joseph and Mary on the road to Bethlehem in the north lunette of the first bay of the outer narthex. Print in poorish condition, with overall spotting.[Albumen print, 375x308mm]. View looking up towards mosaic of Joseph and the Virgin Mary in the north dome of the inner narthex, on the side wall of the dome. Print in poorish condition, with overall spotting.[Albumen print, 378x304mm]. View looking up towards mosaic of the Virgin Mary presented to the priest by her parents in the vault of the third bay in the inner narthex.[Albumen print, 382x308mm]. View looking up towards mosaic of Zacharias in the west lunette of the second bay of the inner narthex, giving a staff to Joseph. Print in poorish condition, with overall spotting.[Albumen print, 371x300mm]. View looking up towards mosaics in the north dome of the inner narthex. Print in poorish condition, with overall spotting.[Albumen print, 380x308mm]. View looking up towards mosaics of Herod ordering the massacre of the innocents in the west lunette in the sixth bay of the outer narthex.[Albumen print, 378x308mm]. View looking up towards mosaics of the birth of the Virgin Mary, in the east lunette in the second bay of the inner narthex.[Albumen print, 376x305mm]. View looking up towards mosaics of the Virgin Mary receiving the thread for the veil of the temple in the lunette, over the entry to the outer narthex from the inner narthex. Print in poorish condition, with overall spotting.[Albumen print, 373x308mm]. View looking up towards ornately carved interior of the dome of the mandapa of the Neminatha Temple. Photograph by Colin Murray for Bourne and Shepherd. View looking up towards ramparts of fort. View looking up towards sallyport in fortress wall. View looking up towards squinch arch and drum above. (Ancient Persis Map B2). View looking up towards temples from below. View looking up towards the arched dome of the apse.[Albumen print, 255x200mm]. View looking up towards the archivolt, with carved stonework and inscription, above the tomb of General Michael Tornikes, in the Parecclesion of the Church of St Saviour in Chora (Kariye Mosque). Some overall spotting on print.[Albumen print, 381x309mm]. View looking up towards the balcony window, with richly-carved brackets and architraves. India Museum no. 541(c). Duplicate of Photo 1000 (2482). View looking up towards the buildings clustered round the hot springs, with the stone platform known as Pippala's Residence on the hillside beyond. The summit of Vaibhara Hill is on the skyline beyond. View looking up towards the church.[Gelatin silver print, 98x78 mm]. View looking up towards the citadel. View looking up towards the cluster of rock-cut sanctuary towers. View looking up towards the Fort, from the road below. View looking up towards the fort, with a few British soldiers on the road in the foreground.[Albumen print, 285x216mm]. View looking up towards the fort, with an unidentified building in the foreground. Smaller format print than the remainder of the Gwalior series, and probably the work of a different photographer. The attribution to H.H. Cole in Bloch's list is probably incorrect. View looking up towards the fort, with mountains beyond. On the roadway in the foreground porters can be seen carrying Bailey's butterfly nets. View looking up towards the gateway. View looking up towards the medical college on the summit of the hill. The Ba-ma-ri is a small hill near the Kundeling Monastery, to the west of Chakpori. View looking up towards the nunnery buildings. View looking up towards the Olakannatha Temple, situated on top of the Mahishmardini Cave Temple (the entrance to which can just be seen at the extreme left). The temple has been converted for use as a lighthouse, with a small shed and railings built onto the roof. View looking up towards the painted ceiling of the interior of the dome. Reproduced in Henry Cousens, 'The Antiquities of Sind' (ASI, volume 46, Imperial series, Calcutta, 1929), plate 71a. View looking up towards the palace from the Maota Lake below.[Albumen print, 310x184mm]. View looking up towards the ruined tower on the ridge behind the monastery, with part of the chorten of the Golden Temple in the left foreground. View looking up towards the tomb. View looking up towards the walls of the fort. View looking up towards tilework in dome of mosque. Print in poor condition, overall spotting and some fading.[Albumen print, 309x371mm]. View looking upwards towards circular carved ceiling panels.[Gelatin silver print, 203x150mm]. View looking upwards towards pendentive beneath the dome of the mosque. View looking upwards towards pendentives and the partially collapsed dome. The identification in uncertain: Cunningham writes that 'Outside the palace to the north is the site of Husen Shah's tomb. This was still standing in Creighton's time, see his plate VIII [Henry Creighton, 'The Ruins of Gour Described' (London, 1817)], but it has now disappeared, as well as the tomb of his son Nusrat, and a masjid which stood a little to the north.' (Alexander Cunningham, 'Report of a tour in Bihar and Bengal in 1879-80' (A.S.I. vol. XV, Calcutta, 1882) p. 54). View looking upwards towards sculptural panels in ceiling. View looking upwards towards the upper stories of the temple vimana. View looking upwards towards tilework.[Albumen print, 381x308mm]. View looking west along the south fa�ade of Government House, with the High Court nearing completion beyond. Dated 1872 in Lord Curzon's hand on the reverse.[Silver printing-out paper, 244x131mm]. View looking west along the wall from the Alai Darwaza. View looking westwards across the courtyard towards the Iron Pillar, framed by the archway of the Quwwat-ul-Islam Mosque beyond.[Silver printing-out paper, 289x211mm]. View looking westwards across the courtyard towards the main body of the mosque. Original and duplicate negatives only, no print. View looking westwards across the crowded courtyard of the Jama Masjid towards the main body of the mosque. Photograph possibly taken a good deal earlier than the Delhi Durbar. View looking westwards along the south fa�ade of Government House, with the High Court against the skyline in the background. View looking westwards along the south fa�ade of the Potala. View looks towards a sideboard on which a cup stands. View north-east from Kalyana Mandapa, looking towards the gopura on the south side of the inner enclosure. Another, smaller copy of this photograph is at print 12.[Gelatin silver print, 130x188mm]. View of (?)entrance porch. View of (?)mandapa. Small format print. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1300). View of (?)mandapa. Small format print. View of (?)monastery buildings. View of (?)unexcavated remains. View of (modern?) pavilion. View of a 'boa' or temple in a Toda mund (village). The building is a thatched conical structure.[Albumen print]. View of a 'modern' temple enclosed by a high wall. Three South Indian style gopuras are seen and on the left on top of the wall is a figure of Garuda, Vishnu's man-eagle mount. View of a balcony window with finely carved screens. View of a bathing pavilion or kiosk in the grounds of the Beylerbeyi Palace.[Albumen print, 259x200mm]. View of a bedroom. View of ablution fountain in the courtyard of the Sultan Ahmet Cami.[Albumen print, signed 'Abdullah Fr�res' in the negative, 197x257mm]. View of above-ground well buildings. View of a breach in a fortified wall. The print is one of two listed in H.Hering's catalogue of Beato photographs as Nos.15 & 16 in the section 'India - Delhi (Second Series)'. The description for both reads: 'Water Bastion and Breach'. View of a breach in the fort wall, probably as a result of the battle fought there in 1804 between Jaswant Rao Holkar's army and troops under Lord Lake. View of a bridge crossing the moat into the fort. View of a British military group at the Pyramids. View of a bronze standing Buddha figure in a niche. View of a building adorned with sculpture and paintings. View of a building in a mixed-style with castellated turrets. View of a building in the palace complex. From south-west. View of a building with a group standing in the doorway. View of a bungalow, a woman (Mrs Balding?) is standing on the front steps. View of a bungalow. Small faded print. View of a bungalow. View of a bungalow. View of a bungalow. View of a bungalow. View of a bungalow. View of a bungalow. View of a bungalow (Jaipur?) from the garden. View of a bungalow (rest house?) with the trekking party outside. View of a bungalow in a tropical woodland, a European boy standing at the door. View of a bungalow just visible behind hedges. View of a bungalow on a hill. View of a bungalow on a hill top. Small faded print. View of a bungalow showing front. View of a bungalow under snow. View of a bungalow with a corrugated iron roof. View of a bungalow with a European couple outside. View of a bungalow with a man in a carriage outside. View of a bungalow with European couple posed on the front steps. View of a bungalow with Europeans on the verandah. View of a bungalow with Mary Ramsden and dog standing in the garden. View of a bungalow with servants and a pont trap outside. View of a bungalow with thatched roof. View of a cannon on the ramparts. View of a caravansarai, in the Agra environs. From south-east. View of a carriage in the porte-cochere. View of a carved column. View of a carved column. View of a carved columns. View of a carved lintel with figures. From north. View of a carved lintel with figures. From south. View of a carved panel containing a Bhairava image in relief. View of a carved panel containing a figure in relief. View of a carved panel containing figures in relief. View of a carved panel containing figures in relief. View of a carved panel lying on it's side. View of a carved panel with a figure in high releif. View of a carved stone. From west. View of a cenotaph or chhatri? From south. View of ached gateway, flanked by sculpture and wall painting. View of a chhatri. From north-east. View of a chhatri. View of a chhatri. View of a church destroyed in the earthquake. View of a circle of standing stones. View of a cist. Breeks defines his use of the term Kist-vaen as 'a vault of large stone stone slabs, closed on every side, but sometimes with a round hole in one of the walls, with or without a surrounding stone circle or tumulus.' The circular hole in the wall can be seen in this print.[Albumen print]. View of a city gate. View of a cluster of small pagodas, with a larger, swathed in bamboo scaffolding, under construction in the background.[78x130mm]. View of a cluster of temple pagodas, with two chinthes on either side of the main entrance in the foreground.[Printing-out paper, 152x107mm]. View of a collection of lampstands and other brassware articles. View of a collection of standing columns above a small mound. Geraldine Mitton has written in pencil beside the original caption: 'There is no history attached to this'. The structure is mentioned, however, in her 'Lost Cities of Ceylon' (London, 1916, p. 60): 'At the bazaar end, near the bo-tree, there are some ruins of antiquity actually among the houses, the so-called Peacock Palace, a collection of leaning columns and carved capitals, enclosed in barbed wire to keep them from desecration, being one. Nothing is known as to the origin of its decorative name, and it was obviously a vihara, or temple, and never a 'palace'.' The Peacock Palace is located just south-west of the Maha Vihare in H.C.P. Bell's map in 'First Report of the Archaeological Survey of Anuradhapura' (Government Printer, Colombo, 1890). A modern photograph of the site is also reproduced in the guide book by Rohan Gunaratna, 'Sri Lanka' (Bonechi, Florence, 1995), but without specific identification.[Albumen print, signed 'Lawton' in the negative, 282x220mm]. View of a colossal Buddha figure in bronze. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 162. View of a colossal marble lectern described on page 225 of Curzon's Russia in Central Asia (1899), 'The only perfect relic in the ruined enclosure is the vast rahle or lectern, which stands on nine low columns in the centre and which once bore in its V-shaped cleft a ponderous Koran'. View of a corner of the cave, presenting a domestic scene, with table and various pieces of Gill's equipment in the foreground: boxes, bottles, seats, etc. Stereoscopic view. Duplicate (later printing) of Photo 1000 (2068).Exhibited Canadian Centre for Architecture, Montreal, Traces of India: Photography. , Architecture, and the Politics of Representation 1850-1900, 14 May- 28 September 2003. View of a corner of the library, showing the tilework decoration of the walls, with a bookstand and table in the foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 200x257mm]. View of a corner of the room, heavily furnished with chairs, sofas and occasional tables draped with cloths. Probably in Government House, Lahore. View of a corridor at the CID Offices. View of a corridor with carved columns, some in the form of yalis. View of a courtyard in a dzong. Duplicate at Photo 20 (11). View of a courtyard in the palace, with a pavilion beyond.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x202mm]. View of a courtyard in the palace. View of a damaged building. View of a different fa�ade of the temple ruins also seen in print 1. View of Administration Block. View of a domed building with porch. A guard is on duty outside. View of a doorway with carved pilasters and lintel. View of a drawing room. View of a drawing room. View of a European house and grounds with figures on the balcony. View of a European house overlooking a stretch of water. View of a European-style house. View of a fireplace, doorway with inlaid decoration and a drinking room in one of the chambers of the palace (in the Hall of Sultan Ahmed III,) showing tilework decoration of walls.[Albumen print, 258x202mm]. View of a Fort gateway. View of a fortified gateway. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 286, there titled 'Houzdar gateway.' View of a fortified tower. View of a fortified wall. View of a fort in a mountain landscape. View of a frescoe on the palace wall. Described in Nicholas & Co's catalogue as 'Seringapatam. No 5 A portion of the Paintings on the wall of the back verandah'. View of Afsarwala's tomb, west of Humayun's tomb. From north-east. View of a furnished interior. Built by Saadat Ali Khan, the Darul Shafa was originally intended as a hospital, but was never used, and later became the residence of the Secretary to the Chief Commissioner of Oudh. A view of the exterior is at print No 8 in Darogha Ubbas Ali's The Lucknow Album, 1874. Duplicate at Photo 897/7 (51). View of a furnished interior. View of a furnished room. View of a gateway. View of a gateway. View of a gateway. View of a gateway eleborately carved with figures. View of a gateway in a garden. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, frontispiece, there titled, 'Picturesque Japan.' View of a gopura and mandapa. Duplicate (later printing) of Photo 1000 (3030). Another copy at Photo 212/4 (12). View of a gopuram. View of a group of festival spires, with pagodas in the background. Print in poor condition, very faded.[Albumen print, 98x74mm]. View of a group of partly constructed buildings. Print in poorish condition, with overall spotting.[Albumen print, 250x197mm]. View of a group of small shrines lined up in a palm grove. View of a group of temples at Satrunjaya.[Albumen print, 242x184mm]. View of agroup of temples near the Madan Mahal at Garha near Jabalpur. View of a group of thatched bungalows.[132x80mm]. View of a group of thatched bungalows raised on stilts.[Albumen print, 178x114mm]. View of a group of thatched houses enclosed by a picket fence.[Albumen print, 233x181mm]. View of a hall in an Indo-Saracenic style with Johnson Hall, in a similar style, visible in the background. The buildings are possibly attached to the university. View of a hall in Jahangiri Mahal. View of a Hindu temple. From north. View of a Hindu temple on the banks of a river. View of a horse sculpted from raised brickwork. View of a house. View of a house built on a rock. Exact location unknown. View of a house painted with figures and military scenes. View of a house with a Sikh family posed outside. View of a Jain temple with the fort in the distance. View of Akbar's tomb from the top of the gateway. View of a kiosk overlooking an ornamental lake in the grounds of the Yildiz Palace.[Albumen print, 257x201mm]. View of a Kurumba settlement on a wooded hillside.[Albumen print]. View of a large ballroom, possibly at Government House, Rangoon. View of a large brick-built bund, now disused. View of a large furnished room. View of a large garden house in a European style. View of alarge grave. The accompanying letterpress caption note reads: 'No. 238. Chinese are very careful in selecting grave which often led to a clan-fight. They do so by consulting a necromancer, and the spot chosen must be on the hill facing the south, so far up that no water can reach it. The exterior form of some is like a horse-hoof, and others are like a large arm chair, beneath it is a vault for placing coffin.'[Albumen print, 290x216mm]. View of a large sprawling building and grounds. Possibly a Calcutta club? View of a large stone Buddha figure. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 256. View of a large stone sarcophagus in a courtyard of Haghia Eirene, with a man standing beside it to indicate scale. Four massive metal urns are arranged on either side of the sarcophagus.[Albumen print, 258x200mm]. View of a line of towers on the Theodosian Walls .[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x198mm]. View of a long thatched stilt house. View of a low building with arched verandah. View of altar in the form of a cupboard with shelves holding various objects of veneration. In pride of place in the centre is a photograph of the Dalai Lama. A similar photograph at print 286. View of a main street with a muslim pavilion and clocktower. View of a masonry tank. View of a modest two-storey building. View of a mosque. As with No. 1993, this is probably an old house converted to a mosque through the addition of minarets and domes. From south-west. View of a mosque. Probably an old house converted to a mosque through the addition of minarets and domes. From north-east. View of a mosque in the suburb of Khairatabad. View of an Addiscombe building and courtyard. Later annotations read: 'Dormitories (both floors). Serjeants office (below). Dormitories (above). 6th class study (below). Coal cellars under terrace'. View of an arcade in the mosque, with pigeons feeding in the foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View of an arch with lattice work screens. View of a narrow street between houses. View of ancient stupa. Building begun about 120 BC.[Lantern slide, 75X75 mm]. View of ancillary shrines View of an entrance gateway. View of an entrance porch. View of angle and west and south walls of the fort. View of an Indian building. The caption on the print reads: 'Koyla Wazir'. View of an inscription embedded in a wall. View of an interior. View of an interior. Two ornaments are identified: 'Golden Bull of K. Theebaw's children from Mandalay Palace, 1886 [and] Nepali brass ornaments [both] now in our study & drawing room'. View of an interior courtyard in the school.[Albumen print, 252x158mm]. View of an interior tank. View of an intricately carved shrine containing Buddha images. View of an intricately carved wooden balcony. View of an Islamic-style gate in a street. View of an octagonal-shaped pavilion. View of an old bridge? View of an old town gateway. From south-east. View of an ornately carved chimney flanked by wardrobes in a room of the Topkapi Palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x201mm]. View of another ablution fountain in the mosque precincts.[Albumen print, 382x302mm]. View of another fa�ade of the bungalow seen in print 45.[Printing-out paper, 202x151mm]. View of another part of the wall and ceiling. View of another section of the arcade around the quadrangle. Duplicate (later printing) of Photo 1000 (2968). Another copy at Photo 212/2 (28). View of an unidentified building (palace?). View of an unidentified octagonal domed tomb. Small faded print. View of an unidentified temple. Small faded print. View of an unidentified tomb, surrounded by marble lattice screens; probably at Nizamuddin. Small faded print. View of a pagoda entrance guarded by colossal chinthes. View of a painted gateway. View of a palace (?) built into the side of a rocky cliff. View of a palace (?) gateway flanked by large elephant figures. View of a palace building decorated with lights. View of a palace courtyard, showing tilework decoration on side walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View of a palace courtyard. Identity of 'Mehlat' uncertain. View of a palace residence? View of a palace rooftop. Identity of 'Mehlat' uncertain. View of a panel in a wall depicting elephants and horses. View of a panel with figures carved in relief. View of a partly ruined building. View of a pavilion on the riverbank. View of a pavilion with corner chhatris. From south-east. View of a police frontier post, a rectangular mud brick enclosure with two square towers. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 277. View of a police frontier post. View of a pony trap outside the club. View of a portion of Elphinstone (Horniman) Circle, with the garden on the left.[Albumen print, 305x181mm]. View of a portion of the Baghdad Kiosk.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x201mm]. View of a portion of the facade of the mosque. From north-east. View of a portion of the facade of the mosque. From south-east. View of apsidal end of chaitya, with votive stupa. View of apsidal end of chaitya. View of a pump house. View of a pumping station. View of aqueduct.[Gelatin silver print, 77x55mm]. View of a Rajput house from the opposite side of the street. View of arcade of shops in Connaught Place. View of arcades in the Chatta Chauk. View of arched entrance in wall. View of arched entrance passage. View of arched gateway into fort. View of arched interior of one of the palace buildings. Duplicate at Photo 3/2 (127). View of arched recess in corner of the tomb seen in print 85. Innermost Asia, vol. 1, fig. 272: 'Corner of interior of domed Muhammadan tomb, K.K. VI, Khara-khoto.' (I.A. Map 45, C1). View of arched screen from court, showing part of interior. View of archway, showing painted sculptural detail on bases of columns; with Thakur's canopied chair between. India Museum no. 826. Duplicate of Photo 1000 (3333). View of archway and tank. View of area of front of house above wooden lintel of door. View of a relatively undamaged building. View of a rest house? View of a rest house. View of a richly furnished drawing room. View of a richly furnished drawing room. Two items visible in the room were presented to the India Office Library by the Hon Julian Hardinge in 1980: the portrait of the 1st Baron Hardinge by de Laszlo (Ref. Foster 836) seen hanging to the right of the mirror and the herald's trumpet from the 1911 Delhi Durbar in a display case in front of the mirror. View of a richly furnished room with Rajput-style galleries and arches. View of Arjuna's Penance (carvings partially obscured by palm tree), with the fa�sde of the Pancha Pandava Mandapa at the left. View of a roadside grass hut with a European man and bearer standing outside. It is not clear if this is specifically for travellers or simply a dwelling. View of a rock-cut niche with figures in relief. View of a room furnished in European style. The Thakur Sahib of Morbi, Sir Waghji Ravaji, is at the left of the small standing group. The young child seated in the foreground is the younger son seen in prints 65-70. View of a row of four plaques set into the temple wall. View of a row of houses with richly-carved overhanging balconies. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View of a row of mushroom-shaped pillars. View of a row of pagodas. View of a row of small wooden huts.[Printing-out paper, 323x259mm]. View of a ruined, overgrown gateway, possibly Bhagwanpur. View of a ruined building (palace?). View of a ruined gateway. View of a ruined gateway. View of a ruined hunting lodge? From north-west. View of a ruined Islamic building. View of a ruined mandapa, the ceiling collapsed. View of a ruined mosque. From south-east. View of a ruined palace? From south-east. View of a ruined palace. Small faded print. View of a ruined temple. View of a ruined temple. View of a ruined temple. View of a ruined temple. View of a ruined tomb, near Purana Qila? From south. View of a ruined tomb? From south-east. View of a ruined tomb? From south-west. View of a sarcophagus standing in the centre of a court of Haghia Eirene.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View of a school with a thatched roof, the teachers and pupils sitting outside. View of a screened gallery running round an inner courtyard. View of a section of the palace from the waterfront.[Albumen print, 310x372mm]. View of a semi-ruined temple. Small faded print. View of a sentry at the main entrance. View of a shrine with Buddha figures. View of a side chapel and pulpit. View of a similarly-decorated house. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View of a small Buddhist (?) temple. View of a small hut. View of a small police station. View of a small portion of the building, with workmen repairing or repainting the wall.[Sepia toned print, 79x129mm]. View of a small ruined temple. View of a small ruined temple. View of a small ruined temple. View of a small shrine on a boulder. View of a small shrine with carved figures. View of a small shrine with two cat-like stone figures guarding the steps. Another copy of this photograph can be found at Photo 1143/1 (15). For a note on the photographer attribution, see collection introduction. View of a small temple, Published as plate 38 of Taylor and Fergusson, 'Architecture in Dharwar and Mysore' (London, 1866), where it is incorrectly identified as a temple at Dumbul (Dambal). Another copy at Photo 1000 (1026), which is also incorrectly identified in Bloch's list, this time as part of the Hoysalesvara Temple, Halebid. View of a small temple, with four shrines in front containing Buddha images.[Printing-out paper, 153x109mm]. View of a small thatched house raised on piles.[Gelatin developing-out paper, 149x98mm]. View of Asoka's Pillar. Small faded print. View of a state elephant leaving the gateway. View of a stone memorial arch or gateway. View of a storage reservoir. View of a stretch of the fortified wall. From south-east. View of a study? View of a substantial bungalow, built on stilts in the Burmese style, with a European man and two grooms with ponies standing in front of the building.[Printing-out paper] View of a thatched bungalow with a European family and servants outside. View of a thatched hut in a compound. View of a thatched hut with a cart in the foreground. View of a thatched hut with sloping roof, with a Khasi family group posed in front.[Silver printing-out paper, 203x139mm]. View of a tomb? From north. View of a tomb? From south-west. View of a tonga outside Kalka Station. This was the terminus of the railway, until the Kalka-Simla line was opened in 1903, and the tongas were used to convey passengers by road to Simla. View of a two panels with figures carved in relief. View of a two-storey brick-built shooting box, presumably in the vicinity of Chamba (not Udaipur in Rajasthan). Duplicate at Photo 430/30 (16). View of a two-storey building with porte-cocheres. View of a two storey pagoda. View of Aurangzeb's Mosque and surrounding ghats. View of a very small step built over a narrow ditch. From east. View of a wall hung with sporting equipment (fencing masks, tennis racquets, etc). Possibly one of the photographs referred to in Scott's diary entry for 17 October: 'Had breakfast and then took several photos, in interiors and elsewhere' (OIOC Mss Eur F278/4 f. 82). A similar view is reproduced in G.E. Mitton, 'Scott of the Shan Hills' (London, 1936), facing p. 108.[Albumen print, 177x114mm]. View of a wall with cusped arch. From north. View of a water tower encased in scaffolding. View of a wealthy Indian's house in Manipur state. View of a white marble memorial (Jaswant Singh's?). View of a white palatial building with a triple arched gateway. It is not clear if this is a state building or a private house. View of a window. From east. View of a window. From south-east. View of Bailey's quarters from courtyard. View of balcony. From south-west. View of barracks? View of barracks under snow. View of Barton House at Temple Guiting, with Louis and Olga Allen posed in front. They were the brother and sister of Helen Allen, widow of Stein's great friend Percy Stafford Allen. View of base of edict pillar. Reproduced in A. F�hrer, 'Monograph on Buddha Sakyamuni's birth-place in the Nepalese Terai' (Archaeological Survey of Northern India, vol 6, Allahabad, 1897), plate 4, there captioned 'Lower (inscribed) portion of Asoka's pillar (in situ) near Nigliva.' View of base of pillar, showing relief carving in calligraphic form. View of base of ruined building. View of base of temple. View of bed in corner, with table and various pots and jugs. View of Bell's work table, with part of room visible in background. View of Birbal's house. View of brick and stucco obelisk. Duplicate at Photo 1008/9 (2586).[152x204mm]. View of brick building in semi-ruinous condition. View of brick-built sanctuary tower, in ruinous condition. View of brick wall, largely overgrown with vegetation. Duplication of Photo 1008/9 (2298).[203X153MM]. View of bridge. View of bridge and dzong. Duplicate at Photo 20 (39). View of bridge and dzong. View of bridge and the dzong. Duplicate of Photo 20 (14). View of bridges between the Fort and Salimgarh. From east. View of British house? View of Buddha image, framed by doorway, in an unidentified temple.[Photogravure, 147x111mm]. View of Buddha image in the pagoda on the peak at Taunggyi, covered by a roof and with a cloth swathed round the torso. For another copy of this print, see Photo 92/10 (72).[Albumen print, 177x118mm]. View of Buddha images. View of Buddha images carved in rock face to right of entrance. View of Buddha images in the monastery at Bakar. View of Buddhist (?) rock-cut temples at Panchmarhi. View of building from an inner courtyard.[Albumen print, 251x197mm]. View of building from courtyard.[Printing-out paper, 308x248mm]. View of building from other side of driveway. View of building from street, with a group of Turkish Police gathered in front of the main entrance.[Albumen print, 325x253mm]. View of buildings and gardens. Print in poor condition, with several folds.[Gelatin silver print, 316x190mm]. View of buildings from inner courtyard. Print in very poor condition, with overall fading.[Albumen print, 250x192mm]. View of buildings in the Circle View of buildings in the mosque compound. From south-east. View of buildings on the banks of the Sagar Talao. View of buildings with pilasters. From west. View of building under construction. Scott records the construction of the building in his diary for 18 March 1890: 'The Durbar shed hurried on at a tremendous rate and nearly finished by evg. Took some photos of the Burmese [?]chaing and of the mandut building', and on 19 March : 'Photos taken yesterday came out fairly well except instantaneous ones...' (OIOC Mss Eur F278/6 f. 40).[Albumen print, 243x189mm]. View of bungalow, with an unidentified European woman perched on the fence in the foreground.[Silver printing-out paper, 149x102mm]. View of bungalow, with washing haung out to dry in front.[82x48mm]. View of bungalow. View of bungalow. View of bungalow compound with Europeans sitting at tables and servants standing behind. The Europeans are identified as Mr & Mrs J.W. Macnabb and Alice Macnabb (daughter?), and Mr & Miss Byam. View of bungalow range, presumably sleeping accommodation. View of Burning Ghat and riverside temples. A faded print.[Albumen print, 88x99mm]. View of cantilevers. View of carriages outside a rest house? Duplicate at Print 145. View of carved brackets outside a building in Jahangiri Mahal? View of carved ceiling in the Neminatha Temple. The decoration is in the form of receding layers of rosettes arranged in a rectangular pattern. View of carved columns. View of carved columns in the inner courtyard of the Jahangiri Mahal. View of carved fa�ade of unfinished gopura of the Ramalingeshvara Temple. View of carved figures on brackets in small dome. View of carved figures on the stupa wall. View of carved figures on the stupa walls. View of carved free-standing column. View of carved lamp column in front of the Santeshvara Temple. View of carved panels. View of carved panels propped against a temple wall. View of carved pillar. View of carved pillars. View of carved pillars. View of carved pillars. View of carved pillars and walls.[Albumen print]. View of carved pillars of mandapa. Duplicate (later printing) of Photo 1000 (3058). Another copy at Photo 212/5 (2) View of carved stone beam, with surrounding areas blocked out on negative. View of carved stone window and carved wood verandah columns. View of carved temple doorway. View of carved temple entrance. View of carved verandah pillars and window. View of carved walls and columns. View of carved wood doorway and surrounds. View of carved wooden doorway. View of carving. Copy at Photo 1002 (637). View of cell cut into hillside, containing seated Buddha image. View of cenotaphs. From north-west. View of cenotaphs. View of cenotaphs in interior. View of cenotaphs in tomb. View of central area of monastery buildings: 'In the red house below left centre is Tsong-ka-pa's tomb; in the centre below with four pillars, is the large Assembly Hall of the Monastery; on the right of this...is the house where the Ti Rimpoche lives and the Dalai Lama has his apartments. These three are all under gilt canopies.' View of central cluster of rock-cut temple shikaras. View of central dome. From east. View of central portion of building from garden. View of central portion of east fa�ade. View of central portion of east fa�ade from court. View of central portion of fa�ade.[Albumen print, 251x190mm]. View of central portion of palace fa�ade. View of central portion of the station buildings, seen from a similar viewpoint to print 7.[Silver printing-out paper, 153x107mm]. View of central sanctuary of the Neminatha Temple.[?Collodion printing-out paper, 150x196mm]. View of chaitya hall showing entrance steps. View of chapel at left end of the verandah of the vihara cave. View of Charles Stotherd's bungalow damaged by fire. View of Chaurasi Gumbaz and surrounding tombs. View of chhatri containing linga. View of choir and altar. View of choir and altar. View of church and graveyard. View of churchyard and tombs. Duplicate at Photo 3/2 (78). View of circle of standing stones, known as the Asota Megaliths. Reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 29, where the caption is given as 'Stonehenge, Kutar Sung, near Nawakilla.'[Albumen print, signed 'W. Baker 518' in the negative, 199x146mm]. View of circular brick structure with conical roof, similar in design to the granaries at Alagarkoil (see print 2738). The building has partly collapsed around the doorway. The captions for prints 2741 qnd 2742 have been accidentally transposed in the printed list. View of circular ceiling, showing sculptural detail. View of circular domed brick building, with fort wall beyond. Another, similar structure in ruined condition can be seen at the right of the print, with a mandapa separating the two buildings. View of circular watch tower in fort. View of cloisters. From north. View of cloisters. From south. View of cluster of pagodas. Probably taken on 9 November, when Scott records in his diary 'Took some photos in the evg. Four came off fairly well' OIOC Mss Eur F278/4 f. 90). Duplicate at Photo 92/8 (17).[Gelatin silver print, 179x115mm]. View of cluster of temples on the bank of the Ganges.[Albumen print, 83x95mm]. View of Colebrook's bungalow. View of Colebrook's bungalow. Very small print. View of collapsed mandapa. View of collapsed side of stupa. View of collapsed tower. View of Colonel Keyes' bungalow seen in Print 43. This view shows tents in the grounds and the Close family standing left of centre, with Henry Pelham Close in the uniform of the 5tn Gurkhas. With St Luke's Church in the background.[Albumen print, 284x207mm]. View of colonnade, showing carved pillars. View of colonnade, with pools and fountains on either side. View of colonnade. View of colonnade. View of colonnaded courtyard. Print in poorish condition, with overall spotting.[Albumen print, 381x303mm]. View of colonnade from courtyard.[Gelatin silver print, 98x78 mm]. View of colossal collapsed chinthe, one of the pair in front of the Mingun Pagoda, largely obscured by vegetation. View of columned hall, in ruinous condition. View of columned hall from courtyard. View of columned interior. View of columned mandapa (roofless). View of columned porch at right of entrance fa�ade. View of columns with a carved frieze above and painted ceiling. View of completed durbar shed (see print 278 for a view of the building under construction), with two Europeans seated on the verandah, and a group of townspeople in the foreground. Probably photographed on the durbar day of 29 March 1890.[Albumen print, 239x184mm]. View of Consulate from back garden. View of corner bastion. From north-east. View of corner of a fountain near the Sehzade Mosque.[Albumen print, signed 'Abdullah Fr�res' in the negative, 193x255mm]. View of corner of courtyard and arcade, with entrance to the Court of the Room of the Robe.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x193mm]. View of corner of palace. View of corner of the interior, looking towards a divan and showing tiled wall decoration.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View of corner pavilion. View of corner tower and chhatri. View of corrugated-iron wing built onto main building.[Printing-out paper, 320x261mm]. View of Council Chamber, with papers laid out on table. Photograph probably taken soon after the building's completion in 1888.[Albumen print, 284x232mm]. View of couple carved in light relief. Known as the 'Isurumuniya Lovers', the piece is now in the Isurumuniya Archaeological Museum at Anuradhapura.[Albumen print, signed 'Lawton' in the negative, 149x203mm]. View of courthouse? View of courtyard, with group posed in front of entrance.[103x78mm]. View of courtyard, with patients waiting to enter.[82x83mm]. View of courtyard. Duplicate at Photo 20 (3). View of courtyard and buildings, with students on parade in foreground.[Printing-out paper, 235x190mm]. View of courtyard and carved arcade. View of courtyard and house. View of courtyard and part of monastery building. Chortens not visible. View of courtyard and portion of fa�ade, with some of the teachers.[Albumen print, 251x190mm]. View of courtyard and tower. Print in poor condition, with overall spotting.[Albumen print, 249x199mm]. View of courtyard in front of temple, with sacred bell. View of courtyard looking towards arcade.[Albumen print, 385x309mm]. View of courtyard of school, with students posed for the photographer.[Printing-out paper, 241x195mm]. View of courtyard wall with painted floral decoration. View of covered bridge, with gatehouse at either end. View of covered entrance.[77x51mm]. View of crowd in front of the Great Imambara.[Lantern slide, 75X75 mm]. View of crowds on the causeway, the entrance gateway on the right. View of cusped archway, framed with calligraphic carving. View of dak bungalow among trees. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 191, there titled, 'Tragbal log hut.' View of damaged interior. View of damaged relief panel, subject unspecified. View of decorative tilework walls of pavilion, with fireplace at right.[Albumen print, 377x305mm]. View of desk and bookshelf. View of diggers at work on site. View of dining table. View of display cases. From south. View of display cases in the corridor. View of dolmen. View of domed shrine, with roof partially collapsed. This is the building which can be seen at the extreme right of print 1308D. View of domed shrine or tomb, surrounded by trees.[74x96mm]. View of domed tomb, with group of women to right. (Ancient Persis Map, B3). View of domed tomb; bottom portion of building out of print. View of domed tomb. From north-east. View of domed vimana tower, showing elaborate sculptural detail. View of doorway, showing carved decoration on surrounds, with main temple visible in distance through opening.*Extra print, not included in original published version.[Albumen print, 91x97mm]. View of doorway, showing richly-carved architraves and surrounds. View of doorway, with wall paintings on surrounding walls. View of doorway. View of doorway and surrounding sculptural detail. View of doorway in rockface, partially excavated.[Gelatin silver print, 286x234mm]. View of doorway showing sculptural detail. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View of doorway showing sculptural detail. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View of doorway with guardian figures in rock-cut temple. View of doorway with surrounding bands of carved decorations. View of drawing room, with Katharine Bowring seated at the far end. Rather indistinct.[Albumen print, 110x90mm]. View of drawing room, with woman (probably Helen Hodder) seated on floor in foreground. View of Dr Gegorson's bungalow. This is a more tightly cropped version of print 2.[Gelatin silver print, 57x37mm]. View of dried up tank with palace building in the centre. View of dry stream bed and house beyond. View of dzong (?) with a covered footbridge on the left. View of earthquake damage. View of east face of ruined mosque, with graves in foreground. View of east fa�ade, partially concealed by trees.[Platinum print.] View of east fa�ade: 'North of Qutb's house stands a small but beautiful mosque, called the Sona Masjid, or Golden Mosque, built throughout of Hornblende. There is a courtyard traceable to the east with a massive gateway...' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 114).[Woodburytype, 234x184mm]. View of east fa�ade from court. View of east fa�ade from courtyard. View of east fa�ade from the court. View of east wall, corner towers and arched gateway to the tomb. View of edict pillar lying on bank, with Indian figure posed to one side. Signed and dated 'Edmd. W. Smith 1895' on mount. Reproduced in A. F�hrer, 'Monograph on Buddha Sakyamuni's birth-place in the Nepalese Terai' (Archaeological Survey of Northern India, vol 6, Allahabad, 1897), plate 5, there captioned, 'Upper half of Asoka's pillar lying on western bank of Nigali Sagar.' This report was later withdrawn after it had been established that F�hrer had falsified his results. View of elaborately carved columns. View of elaborately carved torana. View of embrasured wall and bastion. View of enclosed terrace or patio room, probably in the Srinagar Residency.[?Matt collodion printing-out paper, 202x150mm]. View of enclosure wall, with tomb visible beyond. View of enclosure wall. From south-east. View of enclosure wall. From south-east. View of enclosure wall. From south-west. View of enclosure wall. View of enclosure wall and corner bastion. From north-east. View of enclosure wall and gateway. View of entrance. Duplicate at Photo 37 (31). View of entrance. View of entrance. View of entrance. View of entrance. This appears to be the structure described by George W. Bird, Wanderings in Burma (Bournemouth and London, 1897, p. 266): 'The small brick building in front of which are a number of white washed masonry pillars with a cornice running round the four sides, was built by King Thibaw as a sort of lounge or rustic retreat. The square in front was formerly a tank, with sloping brick sides, and was adorned with foliage plants and sweet smelling flowers, and here the king would take tea and listen to musicians, soothsayers, or singers. This is now set apart as quarters for the Engineer-in-Chief, P.W.D., when on circuit.'[Albumen print, 270x199mm]. View of entrance and central portion of building from drive. View of entrance and shrines of the Hindu Keshava Temple at Somnathpuram, from the south-east, with a European and several Indian figures posed in the foreground. The bearded European may possibly be Williams himself (see also print 57). View of entrance and verandah. View of entrance archway from street. View of entrance fa�ade, showing restored platform and steps. View of entrance fa�ade of chaitya from left. View of entrance gatehouse. Print in poor condition, overall fading and yellowing.[Printing-out paper, 323x259mm]. View of entrance gateway, largely obscured by trees. View of entrance gateway. View of entrance gateway and shallow-domed porch of the mosque. View of entrance gopura, with (?)palace buildings at right. View of entrance gopura. View of entrance mandapa, in ruinous condition. View of entrance passage. View of entrance porch.[Albumen print, 144x109mm]. View of entrance porch from courtyard. View of entrance porch with carved figures. View of entrance to (?Durga Narasimha) temple. View of entrance to a rock-cut vihara. View of entrance to Buddhist chaitya hall, Cave IX.[Silver printing-out paper, 80x129mm]. View of entrance to cave temple from south-west.[Silver printing-out paper, 76x134mm]. View of entrance to cells, with staircase leading to upper level at right. View of entrance to covered spring View of entrance to Kailasanatha cave temple. View of entrance to mandapas, with monolithic column at right. View of entrance to monastery, showing wall paintings in porch. View of entrance to Potala.[Gelatin silver print, 102x160mm]. View of entrance to school building.[Albumen print, 251x195mm]. View of entrance to temple enclosure. The Nandishvara Dvipa Tuk appears to be the same as the temple listed as the Ujambi Hemabhai Tuk in George Michell, 'The Penguin Guide to the Monuments of India' (vol I, 1989).[?Collodion printing-out paper, 203x149mm]. View of entrance to temple mandapa, with two large stone shashanas (see prints 244b-c) propped against the entrance. For another copy of this print, see Photo 1000 (2254a). [Albumen print, 237x150mm]. View of entrance to the Juna Rajawada or Old Palace from street. View of entrance to the military academy.[Printing-out paper, 198x251mm]. View of entrance to the Palkor Chode Monastery, with monks standing on steps. Irma Bailey stands on the left. View of entrance to this late chaitya cave. View of entrance to tomb, with group of men seated in front of the verandah. View of entrance to tomb chamber. View of entrance to unidentified tomb. View of excavated area. View of excavated area. View of excavated area. View of excavated area along side of building. View of excavated area in front of mosque. View of excavated area of wall. View of excavated area with stupa base. View of excavated base of brick stupa. View of excavated base of building. View of excavated base of stupa. This does not appear to correspond with the stupa seen in print 403, also identified as Stupa XXXV. View of excavated base of wall. View of excavated brickwork plinth. View of excavated monastery foundations. View of excavated remains, from bottom of trench. View of excavated remains. View of excavated remains. View of excavated remains. This is reproduced in J.Ph. Vogel, Excavations at Saheth-Mahet in Archaeological Survey of India. Annual Report 1907-08 (Calcutta, 1911), pp.81-131, pl.35b, and is there identified as 'Temple no. 1 from north-east.' View of excavated remains of wall and gateway. View of excavated site. From south. View of excavated site. View of excavated site. View of excavated site. View of excavated site. View of excavated site. View of excavated site. View of excavated stupa and surrounding area. View of excavated stupa base, with panels of Buddha images. View of excavated stupa base. View of excavated stupa bases, with the Jain Temple and the Archaeological Museum in the background. Part of the Dhamekh Stupa can be seen in the left background. View of excavated trench, showing wall. View of excavated trench, with remains of wall at bottom: '...Deep excavation through the heaps of brick debris, which rise to 15 and 20 feet above the original street levels, revealed the fact that the foundations of all the upper buildings do not go any great depth into the mounds but are rather built upon them. It revealed more. Beneath the upper foundations, and with several feet of brick and earth debris between them, I found the foundations of older brick buildings. In the latter only the very old Hindu brick of great size was used, whilst in the upper walls a few of these were used with others of a far smaller size. Photograph No. 1509 shows one of these excavations. Above is seen the foundation of a wall, while seven feet below is seen a low cross-wall. The intervening space is filled with potsherds, bone, charcoal, ash, and small fragments of bricks, but there are no whole bricks. This absence of loose whole bricks in the intervening space, which is the debris of the older city, explains why we find both the older larger bricks and the smaller one of the Muhammadans in the same walls of the upper ruins. The Arab conquerors in rebuilding the city used again all the old material as far as it would go and supplemented it with new...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, p. 12). The print is reproduced as Fig. 1 in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). View of excavated trench.[Gelatin silver print, 201x150mm]. View of excavated trench.[Gelatin silver print, 202x150mm]. View of excavations. View of excavations. View of excavations. View of excavations in progress. From south-east. View of excavation site. View of excavations south of Jahangirir Mahal. From north-west. View of excavations south of the Jahangiri Mahal. From north-east. View of excavations south of the Jahangiri Mahal. From north-west. View of excavation work in progress. View of excavation wotk in progress. View of exposed foundation, with diggers at work. View of exposed niches, with relief carvings on the wall below. View of exterior, looking towards entrance.[100x77mm]. View of exterior. From south-west. View of exterior. Small faded print. View of exterior courtyard. From east. View of exterior of enclosure wall. From east. View of exterior showing chhatris and street scene. From east. View of exterior wall, with European figure standing in foreground examining inscription panel set into wall. India Museum no. 835. Duplicate of Photo 1000 (3343). View of exterior wall, with projecting lookout posts. Faded print.[75x98mm]. View of exterior wall. View of exterior wall and entrance gopura. Caption notes read: 'The temple of Sri Ranganathaswami is the principal Hindu building in the fort. It is related that in the earliest ages, Gautama, rishi, worshipped here. In A.D. 894, one Tirumalaiya appears to have founded the temple; and in 1454, Timmana, a Hebbar, enlarged it with materials taken from 101 Jain temples.' Duplicate at Photo 2/9 (22). View of exterior with bazaar scene. From north-east. View of facade, a group of Europeans and Persians outside. View of facade, partially obscured by trees. From west. View of facade, showing sculptural detail. View of facade. Copy at Photo 1002 (627). View of facade. From north--east. View of facade. Many of the stones have been marked with reference numbers, presumably prior to restoration by the Public Works Department. View of facade. View of facade. View of facade. View of facade. View of facade from garden. See also preceding print.[Gelatin silver print, 98x78 mm]. View of facade looking over huts. From east. View of facade of a converted palace building. From west. View of facade of unidentified building.[103x76mm]. View of facade with a guard of honour welcoming official visitors in the foreground. Possibly at the opening ceremony. View of factory interior, showing machinery.[Printing-out paper, 303x240mm]. View of factory interior, showing machinery.[Printing-out paper, 310x248mm]. View of fallen blocks from building, almost completely obscured by trees and vegetation.*Extra print, not included in original published version.[Albumen print, 237x185mm]. View of fa�ade, decorated with relief panels in stucco over brick, with three arched entrances. 'Near the mausoleum stands a very elegant mosque of embossed brick, known as the Jan Jan Miyan mosque, so called after a lady of that name. It is supported inside by fine stone pillars. This pillar is in excellent repair, and, though much overgrown with trees projecting from all quarters of the roof, the domes are still standing...'[Woodburytype, 240x188mm]. View of fa�ade, showing embossed decoration: 'A short mile from the minar we meet the government road, which carries us south to numerous other ruins, among which the Tantipara, or Weavers' Mosque, is perhaps the most conspicuous. It is half fallen down, but what is left is elegantly and profusely ornamented with embossed bricks. The interior is supported by massive stone pillars, and some elegantly carved prayer niches occupy the western side...' See also George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 82). A European man (possibly Ravenshaw?) stands among an Indian group in the foreground.[Woodburytype, 240x185mm]. View of fa�ade, showing mouldings and sculptural detail. View of fa�ade, showing painted and sculptural decoration.[?Matte collodion printing-out paper, 288x190mm]. View of fa�ade, with horseshoe-shaped upper window. View of fa�ade and doorway, showing sculptural detail on piers.[Gelatin silver print, 291x219mm]. View of fa�ade facing inner courtyard, showing carved wooden balconies. View of fa�ade from left. View of fa�ade from street, showing seven-storied section of palace. View of fa�ade from street. View of fa�ade from the right. Signed 'J.J.' in the negative. See note at Photo 1000/6 (695). Another copy at Photo 1000/6 (707). View of fa�ade from the street.[Albumen print, 251x198mm]. View of fa�ade of house in process of demolition. View of fa�ade showing sculptural detail.[?Matte collodion printing-out paper, 278x194mm]. View of fa�ades of inner courtyard. View of feet and a loose hand. View of feet and faces of the figures. View of fenced-off grave, with Indian figures grouped around the shrine. View of fireplace, with surrounding wall covered in tilework decoration.[Albumen print, signed 'Abdullah Fr�res' in the negative, 252x200mm]. View of fireplace and tilework walls. Print in poor condition, with overall spotting.[Albumen print, 310x376mm]. View of Firoz Shah's Lat. View of Firoz Shah's Lat and ruins of adjoining palace. View of five compartments in the colonnade of the temple. View of five-storied tower. View of flagstaff in Cubbon Park, with the range of the Commissioner's Offices in the distance. Print in poor condition, with small piece torn from surface.[Albumen print, 237x154mm]. View of flight of stone steps at the south-east end of the Potala. View of flowerbeds.[160x108mm]. View of flowerbeds.[164x108mm]. View of fort and tank. Poor quality print. View of fort gate. From north-east. View of fort overlooking river. View of fort wall, showing bastions. Moat not seen in this view. View of fort walls, with bastion in foreground. Duplicate of Photo 1008/8 (2149).[203x152mm]. View of fort walls, with bastion in foreground. View of fort wall with a palace behind. View of foundations, sculpture slab and miscellaneous fragments. View of foundations of ruined palace, with square watchtower beyond. View of foundations of ruined pavilions. View of fountain from roadway.[Albumen print, 380x307mm]. View of fountain from street.[Albumen print, 380x311mm]. View of four compartments, in semi-ruinous state, containing statues. View of fresco, partially damaged or removed. (I.A. Map 28, C3). View of frescoes of saints in the Parecclesion, on wall. Print in poorish condition, with overall spotting.[Albumen print, 309x374mm]. View of fresco on wall. (I.A. Map 28, C3). View of front entrance. View of front fa�ade of house from garden. View of front of house from the driveway.[Albumen print, 211x159mm]. View off the gateway. View of furnished verandah area looking onto open court. 'It faces to a central upstairs rectangular open space, which is surrounded by this and other rooms. Right centre background are the Chi-dzongs' seats facing to the left, i.e. towards the open space. Right foreground the clerks' seats (mattress seats), on the ground; to the right of these, chests for records and other papers. Other records can be seen hanging from the pillars.' View of furniture, including richly-carved Kashmiri wooden screens. View of galleries. Copy at Photo 1002 (557). View of galleries in mosque.[Albumen print, 383x305mm]. View of gallery, with a number of miscellaneous objects on display, including plaster casts of animal and human heads, architectural models and photographs. View of garages and officers' mess. View of garden, with part of verandah at left.[Gelatin silver print, 102x78mm]. View of garden and bungalow; Mrs Storrs-Fox standing on path. View of gardens, with house largely obscured by trees.[290x238mm]. View of gatehouse, with ministry buildings in the background. Print in poor condition, with overall spotting.[Albumen print, 373x307mm]. View of gatehouse. The building was formerly Government House, Parel (see print 51).[Gelatin silver print, 290x221mm]. View of gatehouse from inside. View of gatehouse leading into courtyard. View of gateway, with sculptured posts, lintel and supporting brackets. View of gateway, with tower beyond. View of gateway. View of gateway and chortens. View of gateway and clocktower with a group of soldiers standing beneath. View of gateway and flanking bastions. View of gateway in massive wal. View of gateway in semi-ruinous condition. View of gateway in wall of large ashlar blocks. View of gateway let into wall of large ashlar blocks. Duplicate at Photo 1008/9 (2692).[152x202mm]. View of gateway partly obscured by trees. From south-east. View of gateway with calligraphic carving on architraves. View of gateway with carved decoration set into wall. Signed in the negative O.S. Baudesson 1882. View of gateway with carved decoration set into wall. Signed in the negative O.S. Baudesson 1882. View of gateway with carved surrounds, set into wall. Duplicate at Photo 1008/8 (2156).[152x203mm]. View of ghat and surrounding houses from the river. View of ghats beside the Hunuman Tal Tank. View of ghats from the riverside. 'The Trilochan Ghat is also called the Pilpilla Tirth. After bathing in the Ganges at this Ghat, the pilgrim proceeds to the Punchganga Ghat and then bathes there again. There are two turrets at the Pilpilla Ghat, between which the water possesses the special sanctity. At Tilianala Ghat there are a few houses of plain appearance on the banks of the river, occupied by some of the men belonging to the Taimur family. Near to this place, but in the city, there is a famous place called Maqdum Sahib - a square enclosure used by the Mohammedans as a cemetery.'[Albumen print, 275x213mm]. View of ghats leading down from a temple. View of gopura, with dvajastambha in foreground. View of gopura from inside temple complex. View of Government House, Patna, under construction. View of Government House. View of Government House from the north-east, from a rooftop in the vicinity of the Great Eastern Hotel. Modern print from original glass negative. Contemporary print at Photo 527/1 (14). View of grave, in ruinous condition. This photograph is reproduced in the Report, where it is captioned, 'So-called grave of Qutb-ud-Din Aibek...' View of grave and collpsed outer wall. View of grave and headstone. View of graves in the British cemetery.[Gelatin silver print, 201x151mm]. View of gravestones in the Karaca Ahmet Cemetery, with a central group enclosed in a wire-netting frame in the form of a domed pavilion.[Albumen print, 323x260mm]. View of graves with brick building beyond. View of great dome, looking directly upwards from beneath. View of group gathered in porch of temple.'Jawalamukhi is a famous temple of the goddess Jawalamukhi, 'she of the flaming mouth,' (31� 52 N. and 76� 21' E.). It lies in the valley of the Beas and is built over some natural jets of combustible gas, believed to be a manifestation of the goddess Devi. Another legend avers that the flames proceed from the mouth of the demon Jalandhara, the Daitya king whom Siva overwhelmed with mountains and who gives his name to the Jalandhar (Jullundur) Doab. The building is modern, with a gilt dome and pinnacles, and possesses a beautiful folding door of silver plates, presented by the Sikh Raja Kharak Singh. The adjacent village is surrounded by remains which attest to its former size and wealth.'The interior of the temple consists of a square pit about 3 feet deep with a pathway all round. In the middle the rock is slightly hollowed out about the principal fissure, and on applying a light the gas bursts into a flame. The gas escapes at several other points from the crevices of the walls of the pit. It collects very slowly, and the attendant Brahmans, when pilgrims are numerous, keep up the flame with ghi. There is no idol of any kind, the flaming fissure being considered as the fiery mouth of the goddess, whose headless body is said to be in the temple of Bhawan...'('Punjab District Gazetteers, Volume XA. Kangra District, Part A...1904' (Lahore, 1906), 255). View of group of single storey buildings at the Arsenal at Suda Bay.[Printing-out paper, 304x248mm]. View of group of small stupas at base of main stupa. View of group of temples, inscribed in pencil on reverse: 'Temples at Wai. About 1850.'[Albumen print, 236 x 183 mm]. View of group of tombs in the court. Mughali Bibi's Tomb is on the right. View of guesthouse, with dzong beyond. View of hall showing upper galleries and chandeliers. View of Hardinge's statue from the south-east, with Government House in the background. [227x179mm]. View of head and neck of stone horse projecting from ground. View of head and neck of stone horse projecting from ground. View of headless seated figures. View of highly sculptured doorway, looking into shrine beyond. View of hillside behind Sagaing, dotted with temples and pagodas.[Cyanotype, 158x113mm]. View of Hindu columns and the gateway of the Quwwat-ul-Islam mosque. View of Hindu columns in the Quwwat-ul-Islam mosque. View of hole dug under the Anup Talao. View of house, with mountains beyond.[Gelatin silver print, 292x212mm]. View of house from driveway, with family group posed in front of porch. General Taylor stands on the left, with two unidentified women and a boy seated to the right. Dated 'Oct /73' in the margin.[Albumen print, 184x228mm]. View of house from garden.[Gelatin silver print, 98x78mm]. View of house from rear courtyard. View of house from the street. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 146, there titled 'In the Tartar city, Ch'engfu'. View of houses along a street. Small faded print. View of houses in the tomb enclosure. From south. View of houses in the tomb enclosure. From south-east. View of house with central arched entrance passageway. View of image (brass?) in sanctuary. View of image of recumbent Buddha in the Shin-bin-thaly-aung. The print is mounted the wrong way up in the album: the Buddha image should face the right, with the vaulted ceiling at the top of the print. View of inlaid glass and mosaic work. View of inlay and carving. View of inner courtyard. View of interior, looking out over gardens. View of interior, looking towards furnace.[Printing-out paper, 304x244mm]. View of interior, showing carved columns and linking architraves. View of interior, showing cenotaph and carved calligraphic details on walls.[Gelatin silver print, 239x289mm]. View of interior, showing columns: 'At the north-west corner of the town...overlooking the river, and enclosed within a mud-walled enclosure, is partly ruined old dharmasala, which was used during the late famine as a kitchen, in which cooking was carried on, with the result that the whole interior has been blackened with smoke. Much of the building has fallen since it was photographed by the late Major Gill, some 30 years ago. Many of its column shafts are scattered about the town...The dharmasala was probably merely a subsidiary building to an important temple, possibly Jaina, which stood near and above it, but which has now disappeared...' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1902, p. 9). View of interior, showing furniture, with map and gun-rack on wall.[Gelatin silver print, 100x74mm]. View of interior, showing graves. View of interior, showing richly-painted walls, columns and arches. View of interior, stacked with rifles. The nave of Ayairene with the armory collection.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View of interior, with Buddha images carved in relief on the wall. Note refers to 'General Dept I.O. Letter No. 24 of 25th May 1869' and mount dated 22/6/69. Duplicate of Photo 1000 (644). View of interior, with display of arms and armour arranged on wall and gallery.[Albumen print, 304x378mm]. View of interior. From south-west. View of interior. View of interior. View of interior court. Unsharp. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 88, there captioned, 'Central Court, Apsai.' 'The villages Shui, Apsai, and Shidgol resemble forts rather than villages. Their plan is an irregular four-sided figure, the houses being built contiguously round a central court, the only entrance to which is through a large door capable of being sngly closed and secured from the inside in the event of attack. The houses consist of a basement and one, or two, stories above; the outside walls presenting only flat faces of mud and stone, with framework and ties of timber, broken up in the upper rooms by numerous very small windows; inside, overlooking the courtyard, are picturesque wooden verandahs, the rooms opening on to them. The houses are two rooms deep; the rooms facing outwards are very dark, receiving their light only from the little loop-holes, mentioned above, or through the doorway communicating with the other room, which is lighted from the balcony...There is a good deal of carving about the verandahs and balconies, which look very well from the court below, and remind one somewhat of the courtyards of the old inns immortalised by Dickens...'[Albumen print, 278x216mm]. View of interior courtyard. View of interior looking towards the screened-off loge (hunkar mahfili) where the Sultan prayed when attending the mosque.[Albumen print, 380x309mm]. View of interior of Iltutmish's Tomb, showing cenotaph in foreground and walls inscribed with calligraphic designs beyond. View of interior of mosque.[Gelatin silver print, 202x153mm]. View of interior of shrine, looking towards Shiva image. View of interior of shrine, with close view of carved pillare and capital. The interior of the temple is in good condition compared to the ruinous state of the exterior. View of interior of the vihara cave, showing cells. View of interior of workroom.[Albumen print, 380x303mm]. View of interior of workshop.[Albumen print, 378x306mm]. View of interior of workshop.[Albumen print, 378x309mm]. View of interior of workshop.[Albumen print, 378x310mm]. View of interior of workshop.[Albumen print, 379x306mm]. View of interior of workshop.[Albumen print, 379x309mm]. View of interior of workshop.[Albumen print, 379x311mm]. View of interior of workshop.[Albumen print, 379x312mm]. View of interior of workshop.[Albumen print, 380x306mm]. View of interior showing carved columns with cushion capitals. View of interior walls. View of interior walls and portion of dome. View of interior walls and portion of dome. View of Islamic tomb, comprising 'a dome, constructed with horizontal courses and resting on four monolithic quadrangular pillars, and enclosing walls which form a square measuring 26� feet outside on the plinth. The wall facing south through which the entrance lies has almost completely disappeared...The architecture of the small structure agrees with the date 873 A.H. (A.D. 1468) which an inscription recorded in the Makran Gazetteer but no longer in situ indicates as the date of its completion. (Gedrosia, p. 73, fig. 19). View of island and temples. View of Itimad-ud-daulah's tomb. View of iwan from court. View of Jahangir's tomb. View of jali work screen and cenotaph beyond. View of Jodh Bai's Palace. Small faded print. View of Kalka Station with a tonga in the foreground. View of lake frontage. View of lamp hanging under gateway. From west. View of lamps in the road outside the main gateway. View of landing place from the lake. View of large flat-roofed brick bungalow from the garden. View of largely ruined buildings. View of large standing figures (headless), semi-buried in the ground. View of large two storey wooden bungalow.[71x43mm]. View of lat and surrounding buildings. View of lattice-work screens on the roof terrace. View of Leander's Tower from the Uskudar (Scutari) waterfront, with the European side of Istanbul in the background.[Albumen print, 323x260mm]. View of Leander's Tower of Kiz Kulesi in the Bosphorus off Scutari.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View of left-hand colonnade. View of left-hand side of building, with horse and syce in foreground. Prints 33b-d form a complete view of the building.[Albumen print, 80x99mm]. View of length of wall, looking towards gateway. View of Leper Asylum buildings. View of lion sculptures on ruined platform.[?Matte collodion printing-out paper, 278x176mm]. View of living room. The accompanying letterpress caption note reads: 'No. 274. The Parlour in the residence of the Hoppo of Canton, the furnitures thereof are made of dark durable wood resembling ebony set with marble. In the inner part of the room is placed a large black wood couch on the left of which a guest should take his seat being the place of honour; while on the right is the appropriate seat of the host.'This photograph is reproduced in Clark Worswick, 'Imperial China. Photographs 1850-1912' (Pennwick/Crown, 1978), p. 108, where it is credited to Emil Rusfeldt (Hong Kong Photographic Rooms) and dated 1871-74.[Albumen print, 290x231mm]. View of lower part of fa�ade from the right. View of lower portion of Qutb Minar, showing carved details. View of lower portion portion of fa�ade, showing details of pilasters and other sculptural detail. The dome of the vimana is out of the picture. With evidence of building work in foreground (see note at print 2554). View of machinery in the fez making department of the factory.[Albumen print, 379x313mm]. View of magazine, largely obscured by vegetation. View of main clubhouse. View of main entrance. Caption note continues: 'Believed founded about 1897 by Tej Narain Singh, father of Dip Narain Singh ('Dip Babu'), the renowned Congress leader of the 1930s.' View of main entrance archway, with scaffolding still in place. View of main entrance from driveway. Very poor quality negative, no print. View of main facade View of main fa�ade, with Queen Victoria statue in right foreground.[Platinum print.] View of main fa�ade and entrance porch of the temple. There is confusion between various sources as to the precise location of this temple. George Michell, 'The Penguin guide to the monuments of India' (vol I, London, 1989), p. 308, states that the temple is within the Tuk of Sheth Hemabhai Vakatachand, situated to the north-east of the Tuk of Lalachand Modi Premchand. Burgess and Cousens, however, in their 'Revised lists of antiquarian remains in the Bombay Presidency' (Bombay, 1897), p. 272, place the temple within the tuk directly tro the south of the Tuk of Sakarachand Premchand: this they call the Nandishvara Dvipa Tuk, but which is listed in Michell as the Tuk of Ujambi Hemabhai. However, Burgess in his 'The temples of Satrunjaya' (Bombay, 1869), p. 22, gives Ujambi Hemabhai as an alternative name for the temple, and this location has therefore been accepted. The confusion probably arises from the fact that, as Burgess notes (p. 22), the tuk listed by Michell as that of Ujambi Hemabhai, was also known as the Tuk of Hemabhai Vakatachand. View of main fa�ade and entrance porch of the temple. There is confusion between various sources as to the precise location of this temple. George Michell, The Penguin guide to the monuments of India (vol I, London, 1989), p. 308, states that the temple is within the Tuk of Sheth Hemabhai Vakatachand, situated to the north-east of the Tuk of Lalachand Modi Premchand. Burgess and Cousens, however, in their Revised lists of antiquarian remains in the Bombay Presidency (Bombay, 1897), p. 272, place the temple within the tuk directly tro the south of the Tuk of Sakarachand Premchand: this they call the Nandishvara Dvipa Tuk, but which is listed in Michell as the Tuk of Ujambi Hemabhai. However, Burgess in his The temples of Satrunjaya (Bombay, 1869), p. 22, gives Ujambi Hemabhai as an alternative name for the temple, and this location has therefore been accepted. The confusion probably arises from the fact that, as Burgess notes (p. 22), the tuk listed by Michell as that of Ujambi Hemabhai, was also known as the Tuk of Hemabhai Vakatachand. View of main fa�ade and steps leading up to entrance. Duplicate of Photo 1000 (2420), where the print is captioned 'Sahib's Tomb, Ahmedabad, on the road to Shah Alam's. India Museum no. 520(a). View of main fa�ade of the Victoria Commemoration Hospital under construction and nearing completion. Caption notes read: 'The Victoria Diamond Jubilee Hospital, Bangalore City, is constructed in commemoration of the auspicious occasion of the completion of the sixtieth year of the reign of Her Most Gracious Majesty, the Queen-Empress of India. The foundation stone was laid by H.H. the Maharani-Regent on Diamond Jubilee day, 22nd June, 1897. It is intended as a charitable institution for the purpose of affording medical relief to sufferers of all classes without distinction as to caste, creed, or color. It was opened on the 8th December 1900, by His Excellency Lord Curzon of Kedleston.' View of main gateway, with a drinking fountain in the street in the foreground.[Printing-out paper, 198x252mm]. View of main gateway. View of main mine buildings. Negative only, no print. View of main palace fa�ade, in European style with Indian elements. View of main range from driveway. This photograph is reproduced in V. Nagam Aiya's 'The Travancore State Manual' (3 vols, Trivandrum, 1906). View of main tower over sanctuary. View of mandapa, in ruinous condition. View of mandapa, with nandi pavilion in foreground. View of mandapa and lamp column. View of mandapa and sculpture slabs with tirthankara images. View of mandapa and shrine, with gopuras beyond. View of mandapa beneath tree. View of mandapa facade. 'Rajim is situated on the east bank of the Mahanadi, about 25 miles to the south-east of Raipur, and some 36 miles further up the river. The old temples here are at first sight disappointing after the long accounts given by General Cunningham and Mr Beglar...Mr Beglar tell us that it was with difficulty he got access to the interior of the courtyard of the temple of Rajiva-Lochana, but there was no trouble during my visit, for I was invited to walk around inside the courtyard and make what notes and photographs I liked. The temple, which stands in the middle of its courtyard, is a clumsy, inartistic building of no architectural merit, built upon the plan and general arrangement of the temple of Lakshmana at Sirpur...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 24). View of mandapas in front of the main sanctuary of the temple. View of mandapa with domelike carved roof. View of mandapa with hut-like roof. View of mansion and narrow alley. View of marble floor, showing repairs. View of marble floor. View of marble lattice work screen in the Hall of the Scales of Justice in the Khas Mahal. Print unsigned, but probably by Deen Dayal. View of Mariam Zamani's tomb. From south-west. View of Marochetti's angel. View of Marochetti's angel. View of Marochetti's angel erected over the well at Kanpur. View of Marochetti's angel figure. View of Marochetti's angel in the memorial. View of Marochetti's angel statue in the memorial well. View of Marochetti's angel statue through the doorway of the memorial. View of Marochetti's sculpture of an angel over the Memorial Well at Cawnpore.[Albumen print, 179x211mm]. View of Marochetti's sculpture of an angel over the Memorial Well at Kanpur, with the enclosing gothic screen visible in the background.[Albumen print, 191x241mm]. View of Marochetti's sculpture of an angel over the well in the Memorial Garden at Cawnpore. Print in poor condition.[Albumen print, signed 'Rust' in the negative, 219x277mm]. View of massive rock-cut Buddha image, slightly obscured by projecting protective masonry walls. 'Buddha carved out of rock in Kyi Chu Valley, 12 miles below Lhasa. Large - 30 ft. high. The figures of the man in front shows the height. The vertical lines are caused by water dripping through the roof above. This carving is several hundred years old.' A similar photograph at part 284 (388). View of massive stone wall.(Ancient Persis Map, A3). View of massive temple car, with figures posed to give an indication of scale. Photo 1000 (975) is a cropped copy of this print. View of mausoleum with village huts in the foreground. View of minar, surrounded by vegetation. View of minar. View of minar and cupola. From east. View of minaret from the roof of the gateway. From north. View of minaret from the roof of the gateway. From south. View of miscellaneous fragments, photographed at find spot. View of moat. View of moat and fortifications.[Gelatin silver print, 282x235mm]. View of modern iron fencing. View of monastery buildings, with trees in foreground. View of monastery buildings. View of monastery buildings. View of monastery buildings. View of monastery buildings on cliff. View of monastery buildings on hillside. View of monastery buildings on hillside. View of monastery site after excavation. View of mosque, with shopkeepers' stalls in foreground. View of mosque and surrounding buildings from west. View of mosque exterior? From north-east. View of mosque gateway. View of mosque interior: That part of the mosque which has been designated as the transept is in a very dilapidated state. The roof has fallen in, but its height must have been eighty feet, and a large tree which has sprung up on one side spreads its branches far above the building, showing the length of time that must have elapsed since the place became a ruin. The transept measures sixty-four feet from east to west, and thirty-two from north to south. In one of its corners stands a beautifully carved pulpit, below the steps of which a large slab of stone, now fallen, bears the features of a Hindu god on its reverse side. There are two prayer niches elaborately chiselled; the larger one, occupying the centre of the west wall, has an inscription in the Tughra character...' See George Michell (ed.), 'The Islamic Heritage of Bengal' (UNESCO, 1984, p. 109) for a modern photograph taken from the same viewpoint.[Woodburytype, 186x236mm]. View of Mrs Storrs-Fox sitting in the corner of the drawing room. View of Murray and another man standing in a niche off a palace courtyard. Jahangiri Mahal? Small faded print. View of museum objects on display. From south-west. View of mushroom-shaped pillars. View of nandi pavilion and mandapa. View of niche, with image cast in metal (?bronze). View of octagonal domed tomb. From south-east. View of offices from driveway, with European figures posed in foreground.[Albumen print, signed in the negative 'H.D.', 252x211mm]. View of old city gate. From north. View of old stone bridge. From south. View of Omar's Mosque, Jerusalem? View of Omar's Mosque. View of one of the buildings. View of one of the club buildings. View of one of the entrances to the Moti Masjid courtyard, an archway surmounted by three chhatris. Original and duplicate negatives only, no print. View of one of the gateways of the Purana Qila fort. View of one of the Golden Pavilions that flank the Khas Mahal. View of one of the massive stone troughs, standing among pillars, with Smither beside it. The 'canoes' stand to the south-west of the Jetawanarama Dagaba. James G. Smither, Government Architect, was the author of 'Architectural Remains, Anuradhapura, Ceylon' (London, 1894).[Albumen print, signed 'Lawton' in the negative, 284x215mm]. View of one of the minarets. View of one of the sculptures described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 196-197: '...the preponderant figure is that of a seated figure with the hands at breast, and fingers so disposed as to form an almond-shaped slit flanked on each side by the lines formed by the lines of the other fingers; there can be no mistaking the obscene intention of the symbol...' View of one of the shrines of the temple from outside. View of one of the shrines on the platform of the Shwe Dagon Pagoda, showing intricate wood-carving decoration. Print unsigned, but probably by Felice Beato. View of opening in section of wall. View of open-sided mandapa, with ruins of sanctuary in foreground. (?)Possibly an incorrect identification: the dome of the temple identified as the Baleshvara Temple in print 1596 can be seen in the background and does not appear to be associated with this structure. View of open-sided mandapas. View of ornately carved entrance gateway View of ornately carved pagoda, on square base with tiered spire. Duplicate at Photo 92/5 (69).[Gelatin silver print, 118x163mm]. View of ornate shrine with image.[Albumen print, 73x98mm]. View of outer brick wall. View of outer wall, with entrance gateway and corner bastion. In Shash-deh valley, but not apparently marked on Stein's map. View of outer walls of fort. View of overgrown foundations. View of overgrown ruins. View of overgrown stupa mound. View of overgrown temple ruins. Archaeological Reconnaissances, fig. 5: 'Terrace below north-western face of temple, Nandana.' View of pagoda and other buildings, with a large, unidentified chimney close to and towering over the pagoda. Precise location unidentified. View of pagoda and other buildings, with a large, unidentified chimney close to and towering over the pagoda. Precise location unidentified. View of painted wooden figures on display in a room. View of palace. View of palace and garden at Dig. View of palace at Munshi Ghat. View of palace buildings in the fort. View of palace buildings on west side of tank. View of palace fa�ade, with gateway flanked by a row of balconied windows. View of palace from entrance. Bloch's list identifies this as the Lake Palace, but this appears to be incorrect. Signed in the negative O.S. Baudesson 1882. View of palace from entrance. Bloch's list identifies this as the Lake Palace, but this appears to be incorrect. Signed in the negative O.S. Baudesson 1882. View of palace garden and walls. View of panel with seated image of Tara. Faded print. View of pantiled temple mandapa, with inscription slabs standing in front of the building, and a European figure (Dixon?) sitting inside the mandapa. India Museum no. 621. Duplicate of Photo 1000 (2256a) and (2564). View of Paro Dzongs, with the watchtower on the hill behind. View of partially buried doorway, showing richly-carved surrounds. Pl. 43 of Taylor and Fergusson, 'Architecture in Dharwar and Mysore' (London, 1866). See also Photo 1000 (1011). A variant copy of this print, tightly cropped to exclude background, is at Photo 1000 (1006). View of partially completed buildings. View of partially excavated sculptured doorway. View of partially excavated sculpture panel. 'In Kilchipura, an outlying hamlet of Mandsaur, some recent excavations, made under the supervision of Captain Luard, Superintendent of Gazetteers, Central India, led to the discovery of a sculpture which is locally known as Sravana's kavad. At the top is a lotus medallion, and the remaining portion is divided into no less than four compartments, the first three containing a man, a woman, and a boy, and the last, the woman and boy only...There can hardly be a doubt that the sculpture is a jamb of some ancient torana or doorway.' (Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', p. 63). View of partially excavated site. View of partially-excavated stupa base, showing sculptures. View of partially excavated stupa base. View of partially restored buildings. View of partly buried archway, with measuring scales placed horizontally and vertically. Duplicate at Photo 1000 (1276).[Carbon print ('Autotype'), 147x191mm]. View of partly collapsed entrance arch. View of partly collapsed gopura. View of partly excavated base. View of partly excavated stupa base. View of part of Birbal's House. View of part of building from inner courtyard. View of part of facade, showing figures standing on raised balcony. View of part of facade and entrance doorway. View of part of factory and chute for loading freight trucks with cane. View of part of fort wall, with the top of the tower of the Kalyana Mahal visible beyond, and the precipitous Rajagiri Hill in the background. View of part of fresco. View of part of garden and front of house also seen in print 137, with figures parked beside the carriage under the porte-coch�re. View of part of garden and verandah. View of part of Jahangir's garden at Achibal. The Bourne & Shepherd catalogue title for this print is 'Spring Gardens Achabul.' View ofpart of lower fa�ade.[Albumen print, 373x308mm]. View of part of palace, seen from the street. View of part of restored building. View of part of ruins. View of part of school buildings, with a group of pupils posed in the foreground.[Albumen print, 231x184mm]. View of part of site, with Indian figure marking find-spot. View of part of site, with tamarisk cone in foreground. Not apparently listed in Stein's negative notebook. Innermost Asia, vol. 1, fig. 94: 'Ruined dwelling, N. XLIII, Niya site, between tamarisk-cones, before excavation.' (I.A. Map 19, B1). View of part of the building, under construction and swathed in scaffolding.[Albumen print, 251x198mm]. View of part of the college.[Albumen print, 250x199mm]. View of part of the colonnade of the Gyan Bapi. View of part of the Diwan-i-Khas with the Mussaman Burj on the left. View of part of the fa�ade of carved stone horses. View of part of the garden using a wide-angle lens. View of part of the interior of the fort on the Sher Darwaza Heights south of the city. Print marked 'Confidential'. Another copy at Photo 98 (49). View of part of the Jain temple, in south Indian style, with sloping wooden roofs in tiers, and with heavily overhanging eaves. Incorrectly captioned. Photo 1000 (1045) is a cropped copy of this print. View of part of the Residency, giving a good views of the finely carved wooden verandahs on both floors. Hugh Shakespear Barnes stands with members of his family on the upper floor, with two uniformed servants below. View of part of the ruined Residency building, looking towards a scaffold in the courtyard in the middleground. Other copies at Photo 98 (20) and Photo 449/1 (14). View of part of the ruins of Gawilgarh Fort, east of Chikalda. View of part of the ruins of the palace. View of part of the tilework interior of the Circumcision Kiosk in the Topkapi Palace.[Albumen print, 204x259mm]. View of part of the walls of the fort. Caption notes read: 'The breach, through which the troops effected an entrance on the memorable 4th May 1789, is preserved, unrepaired, a monument to British prowess. The ramparts on this face remain now as they were then, the only change being the absence of cannon in the embrasures, and the opening of a far more extensive breach, than of warfare, for the peaceful passage of the iron horse.' Duplicate at Photo 2/9 (19). View of part of tomb in ruinous condition, showing collapsed dome. View of part of Tongsa Dzong. View of passage through gopura of the Ramalingeshvara Temple, showing sculptural detail of inner face, with the River Penner visible beyond. Figure of Ganga at base of central pillar. Duplicate (later printing) of Photo 1000 (3172). Another copy at Photo 212/7 (34). View of pavilion, with temple towers beyond. View of pavilion in the Hayat Bakhsh Bagh. From east. View of pavilion in the Hayat Bakhsh Bagh. From south. View of pavilion in the Hayat Bakhsh Bagh. View of pavilion in the Hyat Bagh. From north-east. View of pavilion in the Hyat Bagh. View of pavilion under excavation, with the Sher Mandal in the background. View of pavilion with screen of pointed arches. This building is also seen in Photo 1008/2 (245), where it is described as a 'mandapa.' Duplicate at Photo 3/2 (72). View of pavilion with slender tiered roof. Letterpress continues: 'This is a fine specimen of this kind of building, it is of wood, carved and gilt'. View of pawnshops, two tall brick buildings.[Albumen print, 234x261mm]. View of people standing on the stepped sides of a pyramid. View of perimeter wall, with praying figure in foreground.[Gelatin silver print]. View of pictures hanging along one wall of the Picture Gallery. These include a number of portraits of Queen Victoria and below, two large panoramic photographs of the Delhi Durbar of 1911.[Platinum print.] View of pierced marble screen and entrance to the tomb. View of pierced screen. View of pierced stone window. View of pietra dura work on an interior wall. view of pilaster, with the figure of a dancing nymph (apsara) carved above the base.*Extra print, not included in original published version.[Albumen print, 84x98mm]. View of pilaster near cave temple entrance, with sculptured figure to the left. Small format print. The attribution to Johnston is tentative. View of pillar carved with floral designs and a figure at the base. View of pillared colonnade. View of pillar lying in field. See note at print 2498. View of pillars. View of pillars and cusped arches inside the mosque.[Albumen print, 278x220mm]. View of pillars in front of the shrine, whose doorway is flanked by massive dvarapalas or guardian figures. The pillars are square-sectioned in the lower half, with a round fluted cushion amalaka above, supporting rectangular capitals. View of pillars in the palace. View of pillar with a child sitting on its base.[Lantern slide, 75X75 mm]. View of pillar with other museum pieces in background. View of pipe in situ after excavation. From west. View of platform and station buildings from the tracks. View of platform of former (?)temple, with a few pillars still standing. View of platform with carved figures. View of pool and brick pavilion in the gardens. View of porch and doorway.'This photograph gives a closer view of the gateway seen in the preceding picture. It may be taken as an example of the proportion and general appearance of all the entrances to the temple - the projecting columns supporting a richly ornamented architrave and corbeled roof; the pilasters on either side of the of the entrance adorned with chaste and elaborate ornament ; a doorway of the most classic proportion , and finished with graceful mouldings. In examining this picture, one cannot fail to be struck with the taste displayed in construction, and the classical appearance of the whole...'('Description of the Photographs', p. 25).[Albumen print, signed 'J. Thomson' in the negative, 238x186mm]. View of porch of mandapa. View of porticoed entrance to the tomb proper. View of portion half of unfinished gopura of the Ramalingeshvara Temple, showing elaborately detailed carving. View of portion of aqueduct, with granite pylons supporting sections of water channels. In the foreground a spur leads off from the main aqueduct and runs down to ground level. View of portion of brick-built ruins.[Gelatin silver print, 80x55mm]. View of portion of building, looking towards doorway. View of portion of building, partly obscured by trees. View of portion of excavated area. View of portion of excavated monastery, with Dhamekh Stupa in background. The pillar and doorway in the right foreground are those seen in prints 244, 246 and 247. The pillars and lintel to the left of the doorway are seen in greater detail in prints 240-242. View of portion of excavated site. View of portion of excavated stairway. View of portion of fa�ade, showing pilasters and sculptural panel. View of portion of house, apparently in a semi-ruinous condition. View of portion of palace. View of portion of ruins. View of portion of sculptured ceiling. View of portion of sculptured ceiling. View of portion of site. View of portion of temple fa�ade. View of portion of verandah or inner room, showing painted walls, pots of flowers and other decorative items and furniture: 'The Kashag have kindly placed the grounds of the Norbu Lingka at Mr Gould's disposal. In the life time of a Dalai Lama these grounds can only be visited on rare occasions so we are fortunate to have the freedom of the peaceful and lovely, but now rather unkempt, grove and gardens. Mr Gould went there today; Chapman and Nepean accompanied him in order to take photographs which could not be done conveniently on our previous, formal, visit.' (Lhasa Mission Diary, 16 Sep 1936).[Gelatin silver print, 142x94mm]. View of pumping station building, with houses in background.[Printing-out paper, 319x260mm]. View of quadrangle. Faded print. View of quadrangle. View of quadrangle and buildings.[Printing-out paper, 250x196mm]. View of quadrangle and buildings. Print in poor condition, overall fading and yellowing.[Printing-out paper, 322x258mm]. View of Qutbul Alam's Tomb. View of R.B. Holmes sitting amongst the ruins of Avantipur. The original caption describes it as 'Martand Ruins, Avantipur' View of rear. From south-west. View of rear of house. From west. View of rear of mosque. From west. View of relief sculpture of dancing girls on the facade.[Albumen print, 229x166mm]. View of remaining columns of temple. View of remaining facade and tower of St Augustine's Church, Goa. View of remains, with only a few pillars standing. View of remains: no building standing. View of remains in jungle at Devikot, the ancient city of Bannugger: 'Three views show the remains of the tomb of Sultan Shah, Bannugger. The stones lying in the foreground and the pillars tally with the drawings in Martin's India, page 662. In Dr Buchanan's time the drawing was probably standing as represented by him. The tomb is very difficult of access, and is buried in dense jungle. The two pools of Amrito and Jivot are in the vicinity, but are mere jungle-holes, and not fit subjects to photgraph. The image of the bull taken out by Dr Buchanan's pundit is still in existence in Dinagepore. I will take an early opportunity to photograph it and send copies' (Descriptive note of the photographs of ancient architectural remains in Kantonugger and Bannugger, Bengal pub. proc., no. 26 of October 1871, IOR/P/156). India Museum no. 829. Duplicate of Photo 1000 (3336). View of remains of excavated chaitya. View of remains of massive stone gateway. Duplicate at Photo 1000 (1265).[Carbon print ('Autotype'), 201x133mm]. View of remains of stupa bases. View of residency ruins. The room where Sir Henry Lawrence died is marked with a cross in red crayon. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 294x241mm]. View of Residency ruins and gardens. View of restoration of tank adjacent of mosque. From east. View of restoration work in progress. View of restoration work in progress. View ofr excavated steps from the south side of the tank. View of richly-carved shrine.[Albumen print, 241x190mm]. View of right half of upper portion of fa�ade from right. View of right-hand portion of entrance fa�ade. View of river and dzong. Duplicate at Photo 20 (2). View of river and dzong. View of river side. From south-east. View of road between stone walls, with unidentified buildings on either side. India Museum no. 891. Duplicate of Photo 1000 (3396). View of roadway over moat and entrance gateway. View of rock-cut temples. View of rock-cut viharas. View of rockface, showing entrances to shrines. View of roof and finials. View of roof courtyard and cenotaph. Stereoscopic view. View of roofed wooden wall. View of roofless interior, with massive stone pillars lying in foreground.[Woodburytype, 233x184mm]. View of rows of mushroom-shaped pillars. View of rubble in tomb before restoration. View of ruined arches. Duplicate of ASIO 2119a (in Vol 20). View of ruined base of tower. A similar, although not identical view is reproduced as a lithograph in H.B.W. Garrick, 'Report of a tour in the Panjab and Rajputana in 1883-84' (A.S.I. vol. XXIII, Calcutta, 1887), pl. x. Although attributed to Beglar in Bloch's list, this view (and print 1534) are more probably the work of Garrick, who specifically mentions his photography of the mosque: 'I secured a photograph of all that remains of the cloisters from the south-west angle to the centre of the south side of the courtyard (exactly 132'), and, by repeating this, a true idea of their present state may be gleaned...' (p. 38). View of ruined base of tower. A similar, although not identical view is reproduced as a lithograph in H.B.W. Garrick, Report of a tour in the Panjab and Rajputana in 1883-84 (A.S.I. vol. XXIII, Calcutta, 1887), pl. x. Although attributed to Beglar in Bloch's list, this view (and print 1534) are more probably the work of Garrick, who specifically mentions his photography of the mosque: 'I secured a photograph of all that remains of the cloisters from the south-west angle to the centre of the south side of the courtyard (exactly 132'), and, by repeating this, a true idea of their present state may be gleaned...' (p. 38). View of ruined building. View of ruined building with octagonal tower.[Albumen print, 162x220mm]. View of ruined caravanserai. From south-west. View of ruined citadel walls. View of ruined colonnade of fluted classical columns of the Surya Temple.[Albumen print, signed 'Bourne 717' in the negative, 190x105mm]. View of ruined domed pavilion, with cantilevered balconies. View of ruined domes around the main dome of the mosque. View of ruined doorway and surrounding fa�ade.[?Matte collodion printing-out paper, 286x197mm]. View of ruined entrance to palace in foreground, with hill fort beyond. View of ruined fort walls. View of ruined gateway. View of ruined mosque. View of ruined palace. View of ruined palace buildings.[Albumen print, 324x261mm]. View of ruined palace foundations near the square watchtower. View of ruined palatial building. From north-east. View of ruined palatial building. From south. View of ruined part of temple. View of ruined Residency buildings, with mosque beyond.[Printing-out paper, 210x153mm]. View of ruined section of Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x198mm]. View of ruined temple, with Indian figure standing in pedimented entrance. Photographer unknown, but possibly Baker & Burke. Inscribed in pencil on reverse '724. Ruins at Martand.'[Albumen print, 276x209mm]. View of ruined temple, with pile of fallen stones in foreground. View of ruined tomb? From north-east. View of ruined tomb (Firdausi's Tomb?).[Platinum print, 75x102mm]. View of ruined tower and gateway on the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View of ruined wall and archways, largely obscured by vegetation. View of ruined wall and dalan or hall on the edge of the tank. View of ruined walls and buildings.[Albumen print, 227x169mm]. View of ruins, largely obscured by vegetation. Duplicate at Photo 1008/6 (719).[203x153mm]. View of ruins, with a herd of goats in foreground. View of ruins, with M. Dairaines standing in foreground. View of ruins; faded print. View of ruins.[Gelatin silver print, 167x114mm]. View of ruins. From north-west. View of ruins. See notes with 736. View of ruins. View of ruins of arched gateway. View of ruins of Buddhist monastery. View of ruins of gateway from side. View of ruins of part of the rock-cut temple complex at Masrur, showing crude brickwork infills to parts of the collapsed structure. View of ruins overgrown by trees and shrubs. View of ruins overlooking a lake. View of ruins View of sanctuary tower, the whole of the north-western half collapsed, interior exposed, with linga. The temple was known locally as Mahadev Baba. See also print 891. View of sanctuary tower, under scaffolding. View of sanctuary tower. View of sanctuary tower of Jageshvara Temple. View of sanctuary tower of the Manimaheshvara Temple. View of sanctuary tower of the Narasimha Temple. View of sanctuary with pyramidal domed vimana. View of Santeshvara Temple. View of sarcohpagus in courtyard. View of school building, with pupils posed in front. The sign over the entrance, inscribed in Ottoman, translates: ' Mekteb-i Rusdiye-i Asakir-i Bahriye (the naval middle school)'.[Printing-out paper, 251x309mm]. View of school building from garden. The inscription on the school building is inscribed with the schools name, ' Mekteb-i Hususi'.[Albumen print, 202x254mm]. View of school building from the street.[Albumen print, 252x192mm]. View of school buildings from courtyard.[Albumen print, 255x194mm]. View of school buildings from street.[Albumen print, 255x194mm]. View of sculptural details in the niche supporting the lower lintel of the window. The supporting pillars are in the form of miniature temple towers, alternating with figure sculptures. This detail can also be seen in print 268. View of sculptural friezes.[Printing-out paper, 282x208mm]. View of sculpture, still in situ, but with torso exposed. View of sculpture. The label below the piece records that it was found by Robert Tytler and subsequently presented to the Asiatic Society of Bengal. View of sculpture and mouldings along fa�ade.[Albumen print, 270x225mm]. View of sculptured columns of mandapa. 'On the river bank, with its own ghat or flight of steps, is the more or less modern temple of Gandesvara. It is modern in the sense that it is a reconstructed temple, but in great part of old materials. It is whitewashed within and without, and is the principal temple of the village.' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 22). View of sculptured doorway and other columns, all that remains of the temple. Photographed by Cousens' assistants. View of sculptured figures on exterior of Linga shrine. View of sculptured guardian figure. View of sculptured pillar, with background blocked out in negative. View of sculptured pillar, with background blocked out in negative. The top panel shows Gajendra, the elephant king rescued by Vishnu. View of sculptured shikara: 'In the town of Jhalrapatan is the great Vaishnava temple, called the Sat Saheli, which, at some period, has been rebuilt. The shrine, with its sikhara and the mandapa, up to the beams above the pillars, are old work. The roof os the mandapa is modern. It must have been a very fine building at one time, but now whitewash and the jerrybuilder have done their worst...' ('Progress Report of the Archaeological Survey of Western India for the year ending 30th June 1905', pp. 32-33). View of sculpture fragments from old Hindu temples. View of sculpture of seated Buddha image with halo, found in the Gandeshvara Temple. View of sculpture of standing figure. The same sculpture can also be seen in print 100. Faded print. View of sculpture panel. Faded print. View of sculpture panel. View of sculpture pieces arranged in museum garden. See note at print 199, also Frederick M. Asher, 'The Former Broadley Collection, Bihar Sharif' ('Artibus Asiae', vol. 32, 1970, pp. 105-124), where this photograph is reproduced as plate 8, with Broadley's original notes: 'Last side of the quadrangle, over the central pillars a frieze of dancing figures from the Bihar fort. At the side Nagas, and other figures from Nalanda. The curious figure, to the right of the gateway leading to the tank, is from Aphsar.'Photograph credited to Simpson, but possibly by Beglar. View of sculpture pieces set into wall. View of Secretariat under construction. View of section of (?)interior wall. View of section of baths, in ruined condition. View of section of brick and stucco wall. Duplicate at Photo 1008/6 (720).[203x152mm]. View of section of colonnade, with statues. Reproduced as a lithograph in A. Cunningham, Report of a tour in the Central Provinces in 1873-74 and 1874-75 (A.S.I. vol. IX, Calcutta, 1879), pl. xv, where the sculptures are identified as, from left to right, Sri Ainggini, Sri Teranta, Sri Paravi, Sri Vayuvega. Figures corresponding to numbers 55-59 in Cunningham's list. View of section of colonnade. Albumen print duplicate at Photo 1000 (1261).[Carbon print ('Autotype'), 229x169mm]. View of section of crenellated wall. View of section of fa�ade, showing sculptural detail.[?Matte collodion printing-out paper, 199x278mm]. View of section of fa�ade, showing sculptural detail and pilasters. View of section of fa�ade, with paved court in foreground overgrown with vegetation: 'The flag stone terrace around the garbhagriham has leakage which requires being closed. The temple authorities do not seem to care about the conservation of the temple and as there is nothing to warrant its conservation by Government, it will be removed from the list' (Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1911-1912 (Madras, 1912), p. 23). View of section of fa�ade, with sculpture in niches.[?Matte collodion printing-out paper, 193x293mm]. View of section of fa�ade with sculpture panels.[?Matte collodion printing-out paper, 188x293mm]. View of section of masonry walls and gateway. View of section of Phari Dzong. View of section of rampart and moat, photographed shortly before its demolition.[Albumen print, 234x173mm]. View of section of ruins, with length of wall covered in friezes containing niches with Buddha images. No. 60 in Burke catalogue of Afghan War views. View of section of site. View of section of the colonnade, with arched recesses between each column. Two measuring scales have been placed, horizontally and vertically, in front of the central arch. Duplicate at Photo 1000 (1263).[Carbon print ('Autotype'), 229x171mm]. View of section of wall, overgrown and in largely ruinous condition. View of section of wall, showing finely carved tracery work. View of section of wall, with sculpture panels of amorous figures.[?Matte collodion printing-out paper, 151x203mm]. View of section of wall, with sculptures of amorous couples.[?Matte collodion printing-out paper, 157x206mm]. View of section of wall, with sculptures of amorous couples.[?Matte collodion printing-out paper, 159x200mm]. View of section of wall. View of section of wall. View of Shah Alam's Mosque, partially obscured by trees. View of Shah Nawaz Khan's Tomb. View of Shaikh Salim Chishti's tomb from the south-west. View of Shankaracharya Temple on top of the hill. View of shed built over monastery remains. View of shopfront from street, with Mr Chou ('Peter'), Zetland's interpreter, standing in the foreground. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 302. View of shops in the bazaar. View of shops on the Mall. View of shrine, showing partially collapsed wall. View of shrine, showing sculptural detail.[Gelatin silver print, 190x305mm]. View of shrine at edge of tank. View of shrine by a river. Duplicate at Photo 20 (33). View of shrine doorway and interior. View of shrine of courtyard, with pool in foreground. View of shrines. View of shrines on the platform of the Shwe Dagon Pagoda. View of side and rear. From south-west. View of side galleries.[Albumen print, 383x302mm]. View of side of building, partially obscured by undergrowth. View of side of entrance and porte-coch�re from garden. View of side of mosque buildings. View of side wall. View of single storey building in classical style, possibly part of the Residency.[Albumen print, 215x153mm]. View of Singram Singh's Cenotaph in the Mahasati at Ahar near Udaipur. Photograph by Colin Murray for Bourne and Shepherd. View of Sir Geoffrey Ramsden's house. View of Sir Henry Thorneycroft's statue of Lord Curzon on the Maidan to the north of the Victoria Memorial Hall. The statue itself is on the extreme right, the main focus of the photograph being the surrounding wall. Print signed 'Vincent J. Esch, Architect, Feb 1919'. Hand-tinted print in poor condition, with many folds. View of site, showing partially excavated stupa. View of site, with Dhamekh Stupa and Jain temple in the background. View of site, with sculpture in foreground. View of site of fort. View of slab carved with guardian figure, with platform and pillars beyond: 'The elephant stables is an obvious misnomer. There is an immense plinth approached by a flight of six steps and surmounted by a number of columns of strikling height and size...At the side of the stairway stands the most wonderful 'dwarfal' or guardstone yet unearthed...'[Gelatin silver print, 55x80mm]. View of sluice gates. View of small, open-sided shrine, with hipped roof. View of small building (in use as church at this period?). View of small domed chhatri. View of small hill with Lawrence Memorial Cross on top, with tower of Residency visible beyond.[114x89mm]. View of small portion of court. View of small ruined mosque. From north-east. View of small shrine on platform.[?Collodion printing-out paper, 207x149mm]. View of small stone shrine set among trees on hillside.[?Colloedion printing-out paper, 209x152mm]. View of small stupa. View of small stupa. View of small stupas and brick foundations. View of small tank or bath. From south-east. View of small temple, the roof overgrown with vegetation. View of small temple, with images arranged on table in front, and monk seated at left. Faded print. View of small temple, with sculptures in niches along facade, and a naga stone leaning against the wall. View of small temple building erected over one of the tombs in the temple graveyard (see note at print 1445d): 'Three of these tombs are enclosed in a little wooden temple with a tiled roof. I enquired why these three tombs were thus honoured and the temple manager replied that these particular saints, or their relatives, had specially requested that a small temple might be erected over the spot where they were buried and they had provided the money for the work...' (Alexander Rea, Annual Report of the Archaeological Department, Southern Circle, Madras, for the year 1920-1921 (Madras, 1921), p. 25). View of small temple in forest clearing at Naldera, near Simla. View of small thatched building at Moda, with the Irrawaddy in the background.[94x66mm]. View of small tower. Poor quality print.[?Matte collodion printing-out paper, 152x202mm]. View of snactuary towers of the Lakshmi Narayana temples near the Palace at Chamba.[Albumen print, 172x241mm]. View of some of the shrines.[Albumen print, 276x190mm]. View of some of the temples of the Maniyan group. View of south end of Fort on the river side. From north. View of south facade.[Albumen print]. View of south fa�ade from south-east corner of grounds. Dated 1903 in pencil on the reverse.[Silver printing-out paper, blind-stamped 'Johnston & Hoffmann India', 320x190mm]. View of south side of tomb, with steps leading down to the tank. India Museum no. 514(b). Duplicate of Photo 1000 (2409). View of spinning machines. Print in poorish condition, with overall spotting.[Albumen print, 382x309mm]. View of square watchtower (on left), with walls to right. Duplicate (later printing) of Photo 1000 (3136). Another copy at Photo 212/6 (38). View of St.Patrick's and the convent. View of stable buildings, in ruinous condition. Duplicate at Photo 3/2 (62). View of stables, in ruinous condition. Print annotated in pencil, 'Stables near Kalyani Mahal, at foot of Rajagiri.' Duplicate at Photo 1008/7 (1520).[203x153mm]. View of stables. View of staircase and walls hung with portraits.[Gelatin silver print, 229x288mm]. View of standing columns and pieces of carved masonry. View of standing group of Corinthian columns. View of standing stones, with an Indian figure posed to indicate scale. View of station buildings from the line, probably taken at the about the same time as print 3.[Albumen print, 293x232mm]. View of station buildings from the line. View of station with a tent erected in the foreground. View of statue in the Sculpture Gallery. This is a marble copy of the bronze statue of Clive which stands outside the old India Office overlooking St James's Park, London.[Gelatin silver print, 143x203mm]. View of St Bartholomew's Church. View of steps leading up hillside towards temple. View of steps leading up to entrance gateway of mosque. View of steps leading up to verandah seen in print 255. View of step-well. Copy at Photo 1002 (536). View of St James' Church. View of stone building containing inscription pillar, with the Potala Palace in the background. A very similar view of this building can be found at print 258, but with a slightly different caption. View of stone carving in interior. View of stone hut with riders in foreground. View of stone railing wall and gateway.[Gelatin silver print, 114x88mm]. View of stones carved with calligraphic and decorative motifs. A somewhat indistinct image.[Gelatin silver print, 204x152mm]. View of stone steps, with colonnade of Hindu columns beyond. View of stoneyard, with unfinished carved blocks lying on ground. View of stream emerging from masonry sluice.[Albumen print, 149x204mm]. View of street of entrance arch to side street. View of study. The calendar on the desk reads 'Wed Sep 26', corresponding to the year 1888. Duplicate at Photo 47 (11). View of stupa, with figures standing in foreground. View of stupa remains. View of stupas and rock-cut sculpture on side of hill. View of sunken palaces, partially submerged in a lake. View of surviving stone architraves of the doorway leading into the cave cell.[Gelatin silver print, 55x80mm]. View of suspension bridge under construction.[Gelatin silver print, 79x137mm]. View of Taj looking along the main avenue. A closer view than print 3888. View of Taj Mahal with town in foreground.[Lantern slide, 72x72mm]. View of tank to east of tomb, with terrace and main building beyond. View of tank with central shrine. View of tank with chhatris in the background. From south-west. View of telegraph offices at Kunar Takhteh. Faded print. View of temple, largely obscured by trees. View of temple, with a collection of large inscriptions slabs propped against the exterior wall of the mandapa. For another copy of this print, see Photo 1000 (2255a).[Albumen print, 255x236mm]. View of temple? View of temple bell, with monk standing beside it. View of temple buildings, fronted by a line of chortens (stupas). View of temple buildings. View of temple complex within the fort. For another copy of this photograph, see Photo 1000 (2251a).[Albumen print, 258x219mm]. View of temple domes, photographed from roof level. View of temple entrance, framed by archway.[Gelatin silver print, 128x132mm]. View of temple entrance. View of temple entrance gateway? View of temple fa�ade after restoration, showing steps flanked by stone lions. Other copies at prints 145 and 161 of this collection. Photo 1000/8 (876) is a platinum print from the same negative. View of temple fa�ade after restoration, showing steps flanked by stone lions. Other copies at prints 160-161 of this collection. Photo 1000/8 (876) is a platinum print made from the same negative. View of temple fa�ade with broken nandi plinth in foreground. Photo 1000/8 (875) is a platinum print from the same negative. View of temple fa�ade with nandi on plinth in court in foreground. Another copy at print 111. Reproduced in collotype in James Burgess, 'Archaeological Survey of Western India. Report on the Elura Cave Temples and Brahmanical and Jaina Caves in Western India...1877-78, 1878-79, 1879-80' (vol 5, London, 1883), pl. 5. Photo 1000/8 (874) is a platinum print from the same negative. View of temple fa�ade with nandi on plinth in court in foreground. Reproduced in collotype in Archaeological Survey of Western India, V, pl.v. Duplicate of print 72. Photo 1000/8 (874) is a platinum print from the same negative. View of temple from the opposite bank of the Chambal. View of temple gopura. Caption notes read: 'The temple, with its imposing gopara, appears to have been erected by Kempe Gauda in about 1570 A.D. The story of its origin is that Kempe Gauda, fatigued by hunting, rested under a tree and fell asleep on the present site of the temple. The god Somesvara appeared to him in a dream, revealing the existence of a hidden treasure and bidding him to build the temple with it.' View of temple gopura taken from the west side '...which is so much buried in sand that the base cannot be seen'. Duplicate (later printing) of Photo 1000 (2999). Another copy at Photo 212/3 (20). View of temple gopura with dvajastambha (lamp column) standing in front. Duplicate at Mss Eur E267/189 (49). View of temple mandapa, in ruinous condition. See note at print 2272. View of temple mandapa, in ruinous condition. View of temple model beneath canopy.[Gelatin silver print, 293x201mm]. View of temple on hillside overlooking the Bhima River. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 35: '...Sadly ruined and dismantled, the shrine only...standing, while the halls are but heaps of ruins...' View of temple pagoda, with prayer post and temple bell in foreground. The bell is the same as that seen in print 45, whose location is identified as Yaunghwe.[Gelatin silver print, 120x178mm]. View of temple perched on summit of rocks. View of temple porch and doorway. Duplicate at Photo 1008/9 (2647).[153x203mm]. View of temple remains. View of temple ruins: the structure has been completely dismantled, all that remains being masonry pieces on the ground. According to Cousens' report, this and numerous other temples in the area were dismantled by a railway contractor. View of temple ruins. View of temples, partially obscured by trees. Negative marked up for cropping. Original and duplicate negatives only, no print. View of temples. View of temple sanctuary tower. View of temples and pagodas on the plain. This photograph also appears as plate 18 in F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893); it is there titled, ' View of Pagan from above the Court-House'. See Photo 998. Second copy negative at B.25618. View of temples dramatically place on the hillside above the artificial lake at Badami. Buildings are unnamed. The temple in the left foreground may be the Upper Shivalaya Temple. View of temples dramatically place on the hillside above the artificial lake at Badami. Buildings are unnamed. The temple in the left foreground may be the Upper Shivalaya Temple. View of temple shikara. View of temple shikara. View of temple shrine, with mandapa at left. View of temple shrine. View of temple shrine. View of temples lying in a gorge in the hills to the east of the city. View of temples next to a tank. View of temple tower, possible of the Kala Rama Temple. View of temple tower on riverbank. The temple can also be seen in print 11.[Albumen print, 200x247mm]. View of temple under repair. View of temple with triple-tiered roof. View of temporary pagoda structure on back of mythological flying figure.[Printing-out paper, 114x88mm]. View of temporary repairs inside the tomb. From south-east. View of tents and thatched bungalows.[128x78mm]. View of terrace and stairway. Duplicate at Photo 1008/8 (2003).[203x151mm]. View of terrace of commercial buildings. View of thatched bungalow from garden. View of thatched hut on piles in jungle clearing.[Printing-out paper, 91x71mm]. View of the Akal Takht. View of the Alai Darwaza. View of the Albert Hall, designed by Sir Samuel Swinton Jacob. View of the Ali Darwaza at the Qutb complex. View of the altar. View of the altar. View of the altar. View of the Amar Singh Gate. View of the Amar Singh Gate. View of the Anema Prison building, built into the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. View of the angel statue. View of the angel statue. View of the angel statue by Marochetti which stood inside the gothic screen.[Albumen print, 164x216mm]. View of the arcaded pavilion, with the gateway seen in print 19 in the background.[Albumen print, 322x260mm]. View of the arcade of shops in front of the palace at Junagadh. View of the arched interior. See descriptive note at print 2137. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1318). View of the arched interior. See descriptive note at print 2137. View of the arch in the gateway. View of the archway, with the Iron Pillar at the extreme left.[Woodburytype, 175x141mm]. View of the Assembly Rooms from the driveway.[Albumen print, numbered '3689' in the negative, 275x218mm]. View of the Atumashi Kyaung. See notes at Print 59. View of the back of the palace. Small faded print. View of the back of the supply sluice, showing the stone strainer screens and looking south-west over the tank beyond towards palace buildings in the distance. View of the Badshahi Mosque (Jami Masjid) from the Fort. View of the Baillie Guard Gate. View of the Baillie Guard Gate. View of the ballroom fitted out as a packing area.[Gelatin silver print, 291x232mm]. View of the bank facing the Hugli. View of the Banqueting Hall. View of the Banqueting Hall in the Residency. View of the baradari, an open-sided pavilion or summerhouse at the top of the Jawahur Burj in Bharatpur Fort. Duplicate at Photo 430/27 (15). View of the Bara Gumbad and mosque. From east. View of the Bara Gumbad and mosque. From south-west. View of the barracks at Mtarfa. View of the barracks from the waterfront.[Printing-out paper, 310x251mm]. View of the barrel-vaulted exterior of the shrine. View of the barrel-vaulted exterior of the shrine. View of the base of the Kirthi Stambh. View of the base of the stupa. View of the base of the tower. View of the bas-relief by John Flaxman showing Raja Sarfoji of Tanjore visiting the Danish missionary Christian Friedrich Schwartz on his death. View of the Bibi-Ka-Maqbara. View of the billiard room of the Lalgarh Palace, with bear skins on the floor and tiger skins and other animal trophies adorning the walls. View of the boat club with various craft on the lake in the foreground. View of the bottom of the steps. From east. View of the breech in the Theodosian Walls through which Mehmet II's forces entered Constantinople in 1453.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View of the brick entrance gateway, in ruinous condition, with the pagoda visible in the distance. Small format print, amateur quality. View of the brick entrance gateway, in ruinous condition, with the pagoda visible in the distance. Small format print, amateur quality. View of the bridge and moat leading into the fort. View of the bridge nearing completion. View of the bridge over the Dolai Creek. View of the bridge running over the moat (dry) towards the entrance arch in the walls of the fort. Duplicate at Photo 430/27 (44). View of the brightly decorated east fa�ade of the tomb: 'In old Sukkur is the tomb of Shah Khairu'd-din (A.D. 1618) whose bright blue enamelled dome distinguishes it from the mass of buildings by which it is surrounded. Its gaily decorated eastern front and dome is the work of Sindhi potters of some fifteen years ago and the scheme of colouring is after the style of the tile-work on the Talpur tombs at Hyderabad...The setting of the tiles is badly managed compared with the latter work, the joints are more apparent, and the lines of the designs are not always kept straight and true' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, p. 4). View of the broken column, surrounded by a wrought iron fence, with the Blue Mosque in the background.[Albumen print, 380x305mm]. View of the building and grounds. View of the Buland Darwaza. View of the Buland Darwaza from the south-west.[Albumen print, 206x169mm]. View of the Buland Darwaza or Victory Gate of the Jami Masjid, photographed from inside the mosque courtyard. Inscribed in pencil on reverse: '258. Inner side of the gate (Futtehpore Sikri).' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872. The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'W. Baker 258' in the negative, 212x158mm]. View of the busy scene at the ghat, with temples beyond. 'Manikarnika is the name given to a well which is just above the Ghat. Between it and the Ganges is the temple of Tarkeswara below which the dead bodies of the Hindus are burnt. The Ghat is one of the five celebrated places of Hindu pilgrimage in Benares and is considered to be the most sacred of all the Ghats; it is also the intermediate point of them all. The three temples in the middle were erected by the Raja of Amethi.'[Albumen print, 275x214mm]. View of the carved lamp-column in front of the temple. View of the ceiling which depicts scenes from Indian mythology View of the ceiling with frescoes depicting scenes from Indian mythology View of the cenotaph. From south-west. View of the cenotaph and interior walls. View of the cenotaph and surrounding marble screen inside the Taj Mahal. View of the cenotaph in the interior of the tomb. From east. View of the cenotaph in the interior of the tomb. From north. View of the cenotaph in the interior of the tomb. From west. View of the cenotaph of Maharaja Bakhtawar Singh. View of the cenotaph on the roof pavilion. View of the cenotaph on the roof terrace. Grainy snapshot. View of the cenotaph on the roof terrace. Small, very faded print. View of the cenotaph on the roof terrace. View of the cenotaph on the roof terrace. View of the cenotaphs. View of the cenotaphs. View of the cenotaphs of the rulers of Bundi. View of the cenotaph surrounded by a screen. View of the central entrance, flanked by onion-domed towers.[Albumen print, 380x312mm]. View of the central portion and dome of the south fa�ade of Government House from the grounds. Dated 1904 in pencil on the reverse.[Silver printing-out paper, blind-stamped 'Bourne & Shepherd India', 289x206mm]. View of the central portion and tower of the Nandaw (Royal Palace). View of the central portion of the building, with crowds in the foreground. Prints 33b-d form a complete view of the building.[Albumen print, 83x97mm]. View of the central portion of the building. View of the central portion of the fa�ade, showing the main entrance. Print in poor condition, with overall spotting.[Albumen print, 309x376mm]. View of the central portion of the main fa�ade of the Lhalu Mansion.[Gelatin silver print, 154x104mm]. View of the central portion of the monastery, with stone staircase leading to the first floor platform in foreground. Letterpress continues: 'This is the longest kyoung in this neighbourhood, its platform is about 400 feet long. It is gilded'. View of the central shrine, with its double-tiered tiled roof. View of the central shrine in the courtyard of the temple at Buniar (or Bhaniyar), a small village near Nowshera. The site is described in James Fergusson, 'History of Indian and Eastern Architecture' (vol I, p.266 of 1910 edn.). See also print 67. View of the central towers and two of the four corner towers from the east end of the causeway, with the terrace of honour leading to the entrance in the foreground.*Extra print, not included in original published version.[Albumen print, 220x183mm]. View of the chaitya hall, possibly by Gill. View of the chaitya hall. View of the chancel. View of the Chandra Mahal. View of the Chandra Mahal overlooking the Jai Niwas Garden. View of the Chihil Sutun, a garden pavilion in the palace complex, with its high open verandah supported on wooden pillars in the foreground. View of the chorten or stupa of the Golden Temple, with Irma Bailey and a military officer (identified as Parker in print 226) standing in foreground. View of the Choti Khwabgah? From south-west. View of the church built by the Portugese. View of the City Palace from Pichola Lake. View of the City Palace waterfront. View of the clocktower. View of the Club on the oppsite bank of the river. View of the collapsed half of the stupa, showing rubble interior. View of the college from the tennis courts. View of the colonnaded fa�ade of the ablution fountain.[Albumen print, 377x310mm]. View of the colonnade on the south-west corner of the temple. The columns are highly decorated, with bracket capitals in the form of dancers and musicians. View of the colossal bell with three European men next to it. View of the columned entrance to the unfinished Pancha Pandava Mandapa. View of the comemmorative stone laid in December 1875. Duplicate at Photo 1008/10 (119G).[202x152mm]. View of the completed building, with the harbour beyond. For a view of the buildings under construction, see print 17. View of the corner bastion of the main entrance. From north-west. View of the corner bastion of the main entrance. From south-west. View of the corner of the throne room, with decorative tilework walls and a drinking fountain in the right foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View of the corridor at the top of the staircase. View of the country house also seen in the distance in print 54. View of the courtyard of the temple with worshippers. View of the courtyard with a nandi statue. View of the Curzon Statue, taken from the south in front of Queen Victoria's statue on the path leading to the Victoria Memorial. In the foreground is the enclosing wall, with lions flanking the statue. Enlarged duplicate of print 273.[Gelatin silver print, 263x181mm]. View of the dam, probably nearing the end of its construction.[Albumen print, 286x232mm]. View of the damaged side of the gateway. View of the Delhi Gate, with the Hathi Pol beyond.[Albumen print, 213x140mm]. View of the Delhi Gate. Poor quality print. View of the Delhi Gate. Small faded print. View of the Delhi Gate. View of the Delhi Gate. View of the Delhi Gate. View of the Delhi Gate. View of the Delhi Gate View of the Diwan-i-Am. View of the Diwan-i-Am. View of the Diwan-i-Khas. View of the Diwan-i-Khas looking over the Machhi Bhavan. Restoration work undertaken: compare with the earlier view at Print 10. View of the domed tomb of Khusrau, brother of Shah Jahan, in the Khusrau Bagh, situated to the south of the railway station. View of the domes on the roof of the Moti Masjid. View of the doorway (whose aperture has been blocked up with masonry and miscellaneous pieces and column), showing intricately carved bands of sculpture on the architraves. The position of this doorway can be seen in the centre of print 1971. View of the doorway (whose aperture has been blocked up with masonry and miscellaneous pieces and column), showing intricately carved bands of sculpture on the architraves. The position of this doorway can be seen in the centre of print 1971. View of the doorway of the Alai Darwaza. View of the doorway seen in the preceding print, but more distant and showing square pillars cut with foliate designs in foreground. The braces supporting the cracked ceiling were placed in position by General Alexander Cunningham, while Executive Engineer at Gwalior in 1844. Duplicate at Photo 1000 (1506).Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. View of the doorway with two Indians seated outside. View of the durbar hall richly decorated with chandeliers. View of the east face of the mosque towards the entrance seen in print 39.[Albumen print, 3285x309mm]. View of the east face of the Taj.[Developing-out paper, 288x242mm]. View of the east fa�ade from the north-east. View of the Edwardes Gate. View of the Electric Picture Palace. View of the Elephant Gate. View of the Emirgan Middle School for Girls, from the street.[Albumen print, 306x378mm]. View of the Empress Market in the cantonment. View of the enclosure wall. From south. View of the end of the covered bridge, so named because its roof was covered with glazed green tiles. The Potala is visible in the left background.[Gelatin silver print, 155x109mm]. View of the entrance. View of the entrance. View of the entrance from the right. Four square-and-octagonal sectioned pillars support the opening, with a hall beyond. The rock-face above the entrance is carved into ornamental architectural forms. View of the entrance gateway. Probably by Molteno. View of the entrance gateway. View of the entrance hall in Trimul Naik's palace. View of the entrance of the Flame Temple (see note at print 18). View of the entrance of the Teachers College.[Albumen print, 378x307mm]. View of the entrance porch of Malik Mughi's Mosque. View of the entrance porch to Adinatha temple. View of the entrance to a mosque converted to a Hindu temple. View of the entrance to a rock-cut vihara. View of the entrance to a temple. View of the entrance to Chhatri Bagh. View of the entrance to the chaitya hall. View of the entrance to the Chatta Chauk, the covered arcade leading into the Fort from the Lahore Gate. From south-west. View of the entrance to the five-shrined cave temple from the right. Four square-and-octagonal sectioned pillars support the opening, with a hall beyond and a second row of fluted pillars. The rock-face above the entrance is carved into ornamental architectural forms. View of the entrance to the Jagdish temple. View of the entrance to the Jahangiri Mahal. Small faded print. View of the entrance to the Jain Hathi Singh's Tremple. View of the entrance to the Kailasanatha temple. There is a caption on the reverse written in the same hand as other prints attributed to 'JJ' (J. Johnston?). View of the entrance to the Kaiserbagh. View of the entrance to the school.[Printing-out paper, 251x198mm]. View of the entrance to the temple. View of the entrance to the temple seen in Print 90. View of the entrance to the tomb, richly decorated with calligraphic designs, with the sarcophagus visible inside.[Albumen print, 185x234mm]. View of the equestrian statue. View of the exterior. View of the exterior. The structure is described in the caption as a Jain temple, but it seems more likely that this is the two-storey Buddhist temple, partly rock-cut, listed in George Michell, 'The Penguin guide to the monuments of India' (vol. I, London, 1989), p. 332. View of the exterior. The structure is described in the caption as a Jain temple, but it seems more likely that this is the two-storey Buddhist temple, partly rock-cut, listed in George Michell, The Penguin guide to the monuments of India (vol. I, London, 1989), p. 332. View of the exterior of the east gate from the north-east. View of the exterior of the entrance gateway.[Albumen print, 235x184mm]. View of the exterior of the Jahangiri Mahal, showing the Khalla Burj. View of the exterior of the mosque showing scaffolding erected. View of the exterior of the ruined church. View of the exterior of the shrine wall, with part of the shikara above. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1278). View of the exterior of the shrine wall, with part of the shikara above. View of the facade. Small faded print. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade. View of the facade from the drive. View of the facade from the gardens. View of the facade from the grounds. View of the facade of Dherwada cave. View of the facade of the Alai Darwaza. View of the facade of the chaitya. View of the facade of the Chandra Mahal. View of the facade of the Dasavatara. View of the facade of the Don Thal cave temple. View of the facade of the Indra Sabha cave temple. View of the facade of the Jaganatha Sabha cave temple. View of the facade of the Jamat Khana, or jawab. View of the facade of the Jami Masjid. From east. View of the facade of the Lalgarh Palace. View of the facade of the mansion built for the Prime Minister in 1885. View of the facade of the Military Seminary with four cadets posed on cannons in the foreground. 'Sleeping rooms' and 'Orderly offices' are identified by annotations at the side of the print. View of the facade of the mosque with crowds in the foreground. Reproduced on p.280 of 'Architecture of the Islamic world' edited by George Michell, London, 1978. View of the facade of the Museum in the Victoria Diamond Jubilee Institute, designed by R.F. Chisholm and completed in 1894. View of the facade of the Nawab's palace. View of the facade of the Qila-i-Kuhna Masjid. View of the facade of the Ramesvara cave. View of the facade of the rock-cut chaitya hall at Karli. View of the facade of the rock-cut chaitya hall of Visvakarma. View of the facade of the temple with three European children and a group of Indian men feeding monkeys in the foreground. A note on the verso suggests that the three children may be the daughters of the Resident at Kathmandu, Colonel Manners-Smith, however the children in this photograph are clearly boys. View of the facade of Tin Thal cave temple. View of the facade showing the four elaborately carved wooden pillars. The palace was partially destroyed in 1897 and later rebuilt. Described in Nicholas & Co's catalogue as 'Mysore. No 1 Palace in the Fort'. View of the facade showing the purdah screens for the women of the zenana. View of the facade View of the facade with a croquet lawn in the foreground. View of the facade with some staff outside. View of the facade with the Auckland statue in front. View of the facade with two horses and handlers outside. View of the facade with Victoria's statue in the foreground. View of the factory building, with staff gathered in front beside the light railway.[Printing-out paper, 313x250mm]. View of the fa�ade, with the truncated minaret in the left foreground. India Museum no. 507(a). Duplicate of Photo 1000 (2395). View of the fa�ade and the side of the building. [Albumen print, 306x375mm]. View of the fa�ade of the house from the street, showing sculputural detail on upper storey. A substantial house rather than a palace. View of the fa�ade of the monastery cave from the left. View of the fa�ade of the �inili Kiosk.[Albumen print, signed 'Abdullah Fr�res' in the negative, 252x200mm]. View of the feet of the seated figure. View of the finely-carved minbar or pulpit, with the mihrab to the left. View of the five-storey palace. View of the flight of steps leading up to the pagoda (partly visible in the background). Two guardian 'chinthes' flank the steps in the foreground.[Albumen print, 119x94mm]. View of the forest of standing pillars of the Brazen Palace or Lohapasada, with the Ruanveli Dagaba visible on the skyline in the background. The palace was so named from being roofed with copper tiles. The caption note reads in full: 'The Brazen Palace. These are the remains of a palace inhabited by Buddhist priests in attendance at the various shrines and temples in the city. It was supported by 1600 pillars of carved stone. The roof was of brass and it was nine stories high. There were golden lions on the pillars, and was otherwise magnificently decorated. The pillars are now out of position from a variety of causes. Ruanveli dagaba behind.' A note in Geraldine Mitton's hand reads: '1600 columns of the [Brazen Palace] built by Dutugemunu in the first century BC, for the monks at the Sacred Bo-tree.'[Albumen print, 282x216mm]. View of the fort, similar to print 261, but composed in vertical format. View of the fort and moat. View of the fort and palace from the river.[Printing-out paper, 96x70mm]. View of the fort and palace ruins. View of the fort entrance. View of the fort face looking out over the plain below. View of the fort from the south. View of the fort gateway. View of the Fort interior looking towards a gateway. View of the fort in the foreground with the cotton market in the distance. View of the fort on a granite hill. View of the fort with three tribesmen in the foreground. View of the four-sided statue of Buddha at the Kyaikpun Pagoda, Pegu, here seen in much-overgrown state. Duplicate at Photo 242/1 (8). This photograph is also used as the frontispiece to Vol I of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1880). View of the Frere or Flora Fountain in Esplanade Road. View of the front entrance and clocktower. View of the front entrance of the Residency. View of the front entrance to the gate with the top of St.James' Church just visible beyond. The print is listed in H.Hering's catalogue of Beato photographs as No.23 in the section 'India - Delhi (Second Series)'. The description reads: 'Cashmere Gate. Front view'. View of the front facade. View of the front of the house from the garden.[Sepia toned print, 135x77mm]. View of the front porch. View of the front verandah with a carriage outside. View of the Gagan Mahal. Print 10 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860). View of the Galata Bridge, from the shore of the Golden Horn. [Albumen print, 308x376mm]. View of the Galata Bridge and the Galata Tower.[Albumen print, 310x377mm]. View of the Galata Tower, photographed from a street with semi-detached houses on two sides. A group of people stand together in the centre of the photograph (print with spotting).[Albumen print, 321x242mm]. View of the Galta temples lying in a deep gorge. View of the Ganesh Pol in Raj Mahal. Duplicate at Photo 430/36 (34). View of the garden and the buildings of the Imperial Naval Academy.[Albumen print, 303x376mm]. View of the garden fa�ade of the Mahtab Manzil in the Thara Palace, an imposing residence in classical European style, with deep verandahs supported on ionic columns running through two stories. View of the garden of the school for orphans.[Albumen print, 304x377mm]. View of the gardens and facade. View of the gardens and facade. View of the gardens from the lake. View of the gateway from the bazaar. View of the gateway in the sculpture garden in front of the Teli-ka-Mandir. Bloch suggests that this might be the tomb of Akbar's musician, Tansen, although it bears little resemblance to descriptions of that structure. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. View of the gateway in the sculpture garden in front of the Teli-ka-Mandir. Bloch suggests that this might be the tomb of Akbar's musician, Tansen, although it bears little resemblance to descriptions of that structure. The attribution of this photograph to H.H. Cole in Bloch's list is probably incorrect. View of the gateway to Sikandarbagh. View of the gateway to the barracks, flanked by a sentry box on each side.[Printing-out paper, 320x261mm]. View of the gateway to the former magazine with a tablet, erected by the Government of India, dedicated to the British officers who defended and later destroyed the magazine during the Indian Mutiny. View of the gateway to the Seth Temples. Small faded print. View of the ghat, and associated building. 'This is the Nagpoor Raja's Ghat. The structures on this spot are very elegant, massive and strong, and is frequented by the Mahrattas.'[Albumen print, 275x213mm]. View of the ghat at the foot of the bridge, with people gathering water. View of the ghats with the mosque in the background. View of the golf pavilion. View of the Gond fort, built on massive boulders. View of the Gond fort. View of the Gond fort at Garha, near Jabalpur. View of the gopuram leading to the Kailasanatha Temple. In front is a type of palanquin with bearers. View of the gopura of the Minakshi Sundareshvara Temple at Madurai, with the tank and surrounding arcade in the foreground. Smaller copy at print 29. View of the gopura over the entrance to the temple. Duplicate (later printing) of Photo 1000 (3019). Another copy at Photo 212/4 (1). View of the Govindadeva temple. Small faded print. View of the great cannon known as the Malik-i-Maidan. View of the Great Eastern Hotel. View of the Great Imambara and mosque. View of the great ruined archway of the mosque.[Gelatin silver print, 114x166mm]. View of the great Sasbahu temple. View of the great stone bull, with an Indian posed in front to indicate scale. Print probably made in the 1900s from an earlier photograph (?1880s).[Gelatin silver print, signed 'G.W. Lawrie' in the negative, 284x237mm]. View of the great tower with a shrine in the foreground. Duplicate (later printing) of Photo 1000 (3037). Another copy at Photo 212/4 (19). View of the group of monolithic columns, surrounded by fencing. The description 'sacrificial stones' is fanciful. For views of these stones in unrestored condition, see Photo 1005/1 (21-30, 306-311), Photo 1005/2 (665-666) and others in this series. For a description see the annual report of the Archaeological Survey of India, Bengal Circle, 1902-03.[Printing-out paper, 133x79mm]. View of the guardhouse inside the Ooh-nein Gate, a modest wooden building divided into four compartments and raised on piles. Letterpress continues: 'There is a Guard-house at each gate'. View of the Hathi Pol. View of the Hathi Pol or Delhi Gate. View of the High Court and Rajabai Tower above the University library. View of the Hindu pillars in the Quwwat-ul-Islam mosque. View of the holiday home with the Stotherds standing outside. View of the hospital building (a single storey thatched hut), with medical staff treating patients in the foreground. A sign in front of the building reads 'Relief Camp of Shetphal Camp. Hospital. 1897.' View of the hotel and other buildings on a hillside. View of the hotel with horses and carriages outside. View of the house said to have been occupied by Jahangir's wife, Jodh Bai. View of the houses of Jaimal and Patta. View of the hunting lodge in the centre of the tank. View of the Imambara. View of the imambara overlooking a tank. View of the inner courtyard. View of the inner courtyard of the palace with crowds in the centre and watching from the balconies. Duplicate at Photo 20 (30). View of the inner courtyard with a minaret in the background. View of the inner courtyard with carved columns and brackets. View of the inner face of the Ortakapi or Middle Gate of the Topkapi Palace, showing painted decoration of walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 199x257mm]. View of the inner face of the south gateway. View of the inside of the Buland Darwaza. Small faded print. View of the inside of the gate.Size 513 (w) x 394 (h) mm. View of the Institute still under construction. View of the interior, showing the marble basin in floral form.[Printing-out paper, 152x105mm]. View of the interior, showing the minbar (pulpit).[Printing-out paper, 150x105mm]. View of the interior, with arms stacked in the main body of the church.[Albumen print, signed 'Abdullah Fr�res' in the negative, 199x258mm]. View of the interior. Duplicate at Photo 447/3 (30). View of the interior. Poor quality snapshot. View of the interior. View of the interior. View of the interior. View of the interior. View of the interior. View of the interior. View of the interior. View of the interior (as yet empty of exhibits) looking towards the statue of Prince Albert by Noble. Much cast-iron work. Another copy of this print at Photo 140 (36). View of the interior chamber of the Mussaman Burj, showing the sculpted pool on the floor and pietra dura on the walls. View of the interior looking towards the throne. View of the interior of Iltutmish's tomb. View of the interior of the bath house. View of the interior of the chaitya hall. View of the interior of the Diwan-i-Am. View of the interior of the Diwan-i-Khas. View of the interior of the fort entrance. View of the interior of the gateway, flanked by two stone elephants.[Silver printing-out paper, 153x104mm]. View of the interior of the gateway. View of the interior of the Hall of Private Audience.[Woodburytype, 175x138mm]. View of the interior of the mosque, looking towards the entrance.[Albumen print, 382x305mm]. View of the interior of the mosque.[Printing-out paper, 201x148mm]. View of the interior of the Sheesh Mahal. View of the interior showing the fountain and water channels. View of the intricate inlaid work on the walls. View of the Iron Pillar, framed by the archway of the Quwwat-ul-Islam Mosque.[Silver printing-out paper, 153x107mm]. View of the Iron Pillar and Great Arch of the Quwwat-ul-Islam mosque. View of the Iron Pillar in the courtyard of the Quwwat-ul-Islam mosque, with the base of the Qutb Minar in the background. View of the Iron Pillar in the courtyard of the Quwwat-ul-Islam mosque. View of the Iron Pillar in the courtyard of the Quwwat-ul-Islam mosque at the Qutb, framed by the arch of the Alai Darwaza. View of the iwan or entrance gateway of the Jami Masjid from the courtyard. Negative marked up for cropping. Original and duplicate negatives only, no print. View of the Jahangiri Mahal from the riverside. View of the Jain pillars. View of the Jai Vilas Palace in Lashkar. View of the Jami Masjid. Small faded print. View of the Jami Masjid showing the entrance gate. View of the Jantar Mantar. View of the Jor Gumbaz or Two Sisters, the twin tombs of Khan Muhammad (in foreground) and Abdul Razzak Qadir. Print 7 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860). View of the Kailasanatha temple. Possibly by Gill. View of the Kaiser Pasand. View of the Kalyana Mahal, with the tower at the right. View of the Keshta Raya Temple at Bishnupur, partially overgrown with vegetation. The brick-built temple utilises the jorbangla (double hut) design, with curved lintels and eaves echoing indigenous hut styles. View of the Khalla Burj. From south-east. View of the Khalla Burj. View of the Khall Burj. From east. View of the Khas Bagh palace. View of the Khas Mahal. The Mussaman Burj is on the left. View of the Khas Mahal with the Anguri Bagh in the foreground. This photograph is reproduced as Plate XIII in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. View of the Kirthi Stambh. View of the Lahore Gate. View of the Lahore Gate from the north-west.[Albumen print, 292x186mm] View of the Lahore Gate of the Red Fort and surrounding battlements. Unnumbered print, but probably no. 1395 in the Bourne & Shepherd catalogue.[Albumen print, 83x96mm]. View of the Lakshmana temple and subsidiary shrines. View of the Lalgarh Palace. View of the lamp column and plinth, with Indian group in foreground. View of the large chorten or stupa at the roadside. A photograph of the same structure, taken from a different angle and with a small river in the foreground, is at Photo 613 (27), there captioned 'Sambhunath Chutan on road between Simtokha and Tongsa E.' View of the largely-ruined Kailasathevaswami Temple. View of the largest tomb: 'In Chanda itself are the Gond tombs, in an enclosure in the south-east corner of the city, near the temple of Achalesvara. They are eight in number, of different sizes, and different plans, the largest, alone, having any pretence to architectural elegance. It is a pleasant looking building, in the Muhammadan style, which would have been much improved had the eight chhatris or pavilions upon the roof been rather smaller than what they are...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1905', p. 38. View of the lattice-screen doorway. View of the left side of the relief sculpture. View of the Legislative Assembly. View of the library in the Baghdad Kiosk, with bookshelves and other furniture.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x200mm]. View of the Lily Throne. Probably a Beato photograph. View of the liwan of the mosque, decorated with calligraphic motifs carved in relief. Inside the mosque can be seen some of the columns constructed from three separate pillars placed one on top of the other to gain extra height. View of the liwan of the mosque, decorated with calligraphic motifs carved in relief. Inside the mosque can be seen some of the columns constructed from three separate pillars placed one on top of the other to gain extra height. View of the lower fa�ade of the two storey vihara cave from the right. View of the lower half of the gateway. View of the lower half of the Qutb Minar: joins up with print 21A to form a vertical panoramic view of the tower.[Gelatin silver print, 238x290mm]. View of the Madan Maha, a Gond fort at Garha, near Jabalpur. View of the Madan Mahal, a Gond fort at Garha near Jabalpur. View of the Madan Mahal, a Gond fort at Garha outside Jabalpur. Although unattributed this print is numbered 1693 which corresponds to the same view described in Bourne & Shepherd's catalogue. View of the Mahabodhi Temple at Bodh Gaya. View of the Maharaja's palace on a lake. View of the Mahasati at Ahar, outside Udaipur. View of the main (east) entrance gate to the Jagannatha Temple, with the Aruna column (originally from the Surya Temple at Konarka) in the foreground. The entrance to the temple is an elaborate covered gateway with pyramidal roof, flanked by stone lions. View of the main building. Original glass negative, no print. View of the main entrance. From north-west. View of the main entrance. From south-west. View of the main entrance. View of the main entrance and central portion of fa�ade.[Albumen print, 378x309mm]. View of the main entrance and the fa�ade of the school. A minaret visible on the left.[Albumen print, 305x379mm]. View of the main entrance looking through an outer gateway. View of the main facade of the school, with pupils and teachers posed on the lawn in the foreground.[Albumen print, 295x227mm]. View of the main fa�ade from outside the entrance gateway. The monolithic column which fell over in the 1870s can be seen at the left (see Photo 1000/6 (708) for a view of the temple before the collapse of the pillar). Photo 1000/8 (877) is a platinum print from the same negative. View of the main fa�ade of the palace. This building is presumably the predecessor of the massive Jai Vilas Palace. India Museum no. 881. Variant of Photo 1000 (3386). View of the main hall and staircase. View of the main tower of the Brihadishvara Temple. View of the Marble Castle from the seaward side.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x191mm]. View of the marble-domed chhatri supported on twenty pillars. View of the marble doorway and screen at the entrance to Nizam-ud-Din's Tomb.[Albumen print, signed 'Sach� 122' in the negative, 284x233mm]. View of the marble lattice screen surrounding the cenotaph inside the Taj Mahal.[Developing-out paper, 294x245mm]. View of the marble swing in front of the Gopal Bhavan. View of the Mason's Spring built in 1516. From north. View of the massive archway and flanking minars of the Taj Bauri tank. View of the massive bell of the ruined pagoda at Mingun. Carbon print. View of the massive platform-bearing column inside the Diwan-i-Khas.[Developing-out paper, 244x294mm]. View of the Mecidiye Cami (Mosque) from the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View of the mission church under construction. View of the moat and ramparts. View of the modern bridge seen in the background of print 8.[Albumen print, 272x211mm]. View of the mosque, the quadrangle filled with worshippers during prayers. View of the mosque. View of the mosque attached to Isa Khan's tomb. View of the mosque entrance at Isfahan. View of the mosque facade. View of the mosque facade. View of the mosque facade during restoration. From south. View of the mosque interior. View of the mosque in the Great Imambara complex. View of the mosque in the Husainabad Imambara complex. View of the mosque in the Taj complex. View of the mosque near the Flagstaff Tower. From north-east. View of the mosque opposite the Taj-replica tomb. View of the Moti Bagh or Pearl Garden, taken on a panoramic camera. View of the Moti Bagh Palace. View of the Moti Masjid or Pearl Mosque from the east. View of the Muir College still under construction. View of the Mussaman Burj. View of the Mussaman Burj with a portion of the Diwan-i-Khas on the right. View of the Nandi pavilion. View of the Nandi Pavilion in the Brihadishvara Temple. View of the Naval Arsenal with the Imperial frigates and steam yachts anchored on the Golden Horn.[Albumen print, 306x375mm]. View of the nave from the chancel. View of the nave of Hagia Sopia. Print in poor condition, with overall spotting.[Albumen print, 313x380mm]. View of the new drinking fountain in the west wall of the Taj garden. Reproduced as Plate I (A) in the annual report. From east. View of the new palace designed by Sir Samuel Swinton Jacob. View of the north column. View of the north-eastern gateway of the naubhat khana, with the gallery above in which the musicians played. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 90. View of the north-eastern gateway of the naubhat khana, with the gallery above in which the musicians played. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 3, pl. 90. View of the north-east face of the fort looking over the plains below. View of the north-east fa�ade from the banks of the Jumna. Faded print. View of the northern colonnade, seen from the courtyard of the mosque. View of the north facade of the Suraj Bhavan, a single storey marble pavilion with a formal terrace garden laid out with fountains (drained in this view) in the foreground.Situated at the south-west corner of the palace complex. Duplicate at Photo 430/27 (28). View of the north face of the Potala, with the lake of the Lukhang in the foreground.[Gelatin silver print, 92x140mm]. View of the north fa�ade from the north-east corner of the grounds. Dated 1903 in pencil on the reverse. Photograph uncredited, but probably by Johnston & Hoffmann.[Silver printing-out paper, 322x190mm]. View of the north half of the screen of the mosque. The two inner arches are multifoil. Photograph credited to Beglar in Bloch's list, but Garrick is more likely (see note at print 1535). View of the north half of the screen of the mosque. The two inner arches are multifoil. Photograph credited to Beglar in Bloch's list, but Garrick is more likely (see note at print 1535). View of the Nrising Dev Palace or Govind Mandir. View of the octagonal domed tomb of one of Shah Jahan's wives. This print and No. 963 have been mixed up in the album, the photographs appearing with the wrong captions. View of the octagonal tower on the riverside at Zuhara Bagh. From south. View of the old governor's residence with a red cotton tree (bombax malabaricum) prominent. Original glass negative, no print. View of the old palace. View of the old palace from the opposite bank of the Chambal. View of the open lattice-screen doorway. View of the open porch with richly carved columns in front of the mandapa of the temple. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. View of the open porch with richly carved columns in front of the mandapa of the temple. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. View of the open-sided pavilion or mandapa with tiered roof, and containing an image of Brahma. The mandapa stands in front of the Jain Santeshvara Temple. View of the ornate entrance gateway to the temple. View of the ornately decorated central gateway, flanked by octagonal onion-domed towers. Faded print.[Printing-out paper, 229x259mm]. View of the other lake-facing fa�ade of the palace. View of the other side of the gopura to that seen in print 2333. View of the other side of the gopura to that seen in print 2333. View of the outer chamber of the Mussaman Burj, showing pietra dura and marble inlay work, with the carved pool on the floor in the foreground.[Developing-out paper, 288x240mm]. View of the outer walls of the magazine with a portion of the European cemetery on the left.Size 501 (w) x 378 (h) mm. View of the pagoda, with a tree growing from its summit. View of the pagoda with the bell in the foreground. A note by A.G. McCrae on the verso reads: 'Mingun is on right bank of the Irrawaddy about 5 miles N. of Mandalay & could be reached by launch crossing the wide river in an hour. I made frequent visits in my two years (1939-41) at Mandalay. The Bell & Pagoda were familiar sights and there was an old people's home run by monks who made me a patron. We understood only one bell in the world larger, ie. in Russia. The I.F.Co. took the bell to Mingun from Lower Burma (date unknown to me) and hung it at Mingun. View of the painted interior of the mandapa. This print is reproduced in photogravure in H.H. Cole, 'Preservation of National Monuments in India' (vol II, (?)Calcutta, c. 1884), part 10, Great Temple of Siva and his consort at Madura, pl. ii: 'The Mutarli Mandapam, which adjoins the Kili Kati Court, seems to be of recent construction, and is in good order. The ceilings and upper parts of columns are brilliantly painted...' View of the painted interior of the mandapa. This print is reproduced in photogravure in H.H. Cole, Preservation of National Monuments in India (vol II, (?)Calcutta, c. 1884), part 10, Great Temple of Siva and his consort at Madura, pl. ii: 'The Mutarli Mandapam, which adjoins the Kili Kati Court, seems to be of recent construction, and is in good order. The ceilings and upper parts of columns are brilliantly painted...' View of the palace. View of the palace designed by W.C. Wright in the 1890s. View of the palace facade. View of the palace from the graden. View of the palace from the other bank of the Ganges. View of the palace front. View of the Palace of Hasht Behesht, bordering the Chehar Bagh. View of the palace on the banks of the Sagar Talao. View of the Pancha Rathas from the south-west, with the Dharmaraja Ratha in the foreground and the Bhima Ratha beyond. The other rathas are not clearly seen. View of the Panch Mahal from the north. The caption misidentifies this view as being of Akbar's Tomb at Sikandra, owing to some similarity in the tiered structure.[Albumen print, signed 'Sach� 358' in the negative, 281x238mm]. View of the partially completed building also seen in print 12. View of the paved courtyard, with prayer flags strung across the open area.[Photogravure, 148x113mm]. View of the pavilion adjacent to the Nadan Mahal. From south-west. View of the pavilion and copper dome. View of the perforated screen in the Khas Mahal. View of the pierced marble screen, with the cenotaph beyond. View of the pool surrounded by cloisters. View of the porch and entrance of the Nandishvara Dvipa Temple in the Tuk of Sheth Hemabhai Vakatachand. Another copy of this print at Photo 1000 (747). View of the porch of the mandapa. Albumen print, 305 x 339 mm. View of the porch of vihara cave XVI, showing paintings on roof. View of the porte-cochere. View of the porte-cochere of the new palace. View of the post and lintel frame near the Vitthala Temple, popularly known as the King's Balance from the legend that the ruler was weighed from it against jewels and gold. It is more likely that the balance was used as a swing for deities on various festival days. View of the Potala from below, framed by trees. View of the Potala from the north. View of the Potala from the south-west, taken from a position close to the Bargo Kani (the western chorten gate visible in left foreground). View of the Purana Mahal. View of the Qila-i-Kuhna Masjid. From south-east. View of the Qila-i-Kuhna Masjid from the south. View of the quadrangle in front of the mosque. View of the Queen's Hall, looking towards Brock's statue of the young Queen Victoria.[Gelatin silver print, 158x197mm]. View of the Qutb Minar and surrounding buildings. View of the railway shed and water tanks also seen in print 20. View of the rath with a temple priest standing on the left. View of the rear. View of the rear of Charles Stotherd's bungalow after a fire. View of the rear of the building from the tennis courts. View of the rear of the building from the tennis courts. View of the rear of the Diwan-i-Am. From east. View of the remains of a small stupa, with men standing either side. View of the remains of a tower, almost entirely concealed by vegetation. Presumably part of Fort Thomas. Duplicate at Photo 1008/10 (123G).[152x202mm]. View of the remains of the 'Seven Storey' palace. View of the residence of the Sawbwa of Yaunghwe, a cluster of thatched wooden buildings on stilts.[Albumen print, 180x117mm]. View of the Residency, partially obscured by trees. Bolarum was formerly the principal cantonment of the Hyderabad Contingent Force. View of the Residency? View of the Residency garden. View of the Residency with a guard of honour outside. View of the restored gateway. View of the richly-decorated interior, taken from the upper gallery. View of the richly-sculptured gateway, taken from a ruined Hindu temple at Gurgi and set up at Rewa. Described in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai' (A.S.I. vol. XIX, Calcutta, 1885), pp. 80-82. A lithograph from a photograph of the gate (not this view) is reproduced at pl. xxi. Although credited to Beglar in Bloch's list, it is more likely that the photograph was taken by Garrick, who describes the removal of 'a wilderness of constructive scaffolding' (p. 80) in order to get a clear picture of the gateway. View of the right half of the east facade. View of the right half of the south facade. View of the right-hand section of the building, with crowds in the foreground. Prints 33b-d form a complete view of the building.[Albumen print, 82x95mm]. View of the right side of the relief sculpture. View of the riverbank around Ram Ghat, with Ghosla Ghat beyond. 'The Ghat is much frequented by the Mahratta population of the city. On the steps is a handsome temple of great sanctity.'[Albumen print, 275x213mm]. View of the river side. View of the rock-cut Buddha image. The sculpturee itself is protected by a drystone wall on either side, supporting a roof. View of the rock-cut Kailasanatha Temple at Ellora. View of the roof of the tomb from the top of a minaret. View of the roof pavilion. View of the roof pavilion and chhatri. View of the roof pavilion of Itimad-ud-daulah's tomb. View of the roped-off area also seen in print 3 (qv). View of the royal cenotaphs. Duplicate at Photo 430/40 (56). View of the Royal Cenotaphs at Kota, with the Cenotaph of Umed Singh in the centre. Photograph by Colin Murray for Bourne and Shepherd. View of the ruined Akbari Mahal. Small faded print. View of the ruined archway at the end of the east wing of the Taj Bauri. View of the ruined Baillie Guard Gate. This print has been signed in ink, 'Robertson & Beato'. However there is no record of James Robertson, Beato's partner in the Crimea, having visited India nor of any other Robertson with whom Beato struck up a partnership. The print is listed in H.Hering's catalogue of Beato photographs as No.34 in the section 'India - Lucknow and Cawnpore (First Series)'. The description reads: 'Gateway leading into the Residency held by Capt. Aitken, 13th NI, commonly Bailee Guard-gate'. View of the ruined buildings, partially obscured by trees. View of the ruined buildings. The print is listed in H.Hering's catalogue of Beato photographs as No.34 in the section 'India - Lucknow and Cawnpore (First Series)'. The description reads: 'General view in the Residency'. Duplicate at Photo 89 (1). View of the ruined mosque. View of the ruined palace.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View of the ruined Residency building. This is a copy of number 37 or 39 in H. Hering's list of Photographic views and panoramas taken by Signor F. Beato. See Introduction for notes on the negatives. View of the ruined Residency buildings from outside the Bala Hissar. Duplicate (in better condition) at Photo 197 (16). View of the ruined temple, with the River Jhelum in the background. The photograph 'gives a general view of the ruins, and a reference to drawing No. 3 - '68 will explain the general disposition of the various parts of the central temple and colonnade as they now exist. The amount of elaboration in the decoration, must have been great, as in addition to those parts of the colonnade which have been excavated, and which enabled a restoration to be made of the peristyle, a great quantity of stonework is strewn all over the pile of ruins, which now occupy the site of the central temple.' (p. 26). Albumen print duplicate at Photo 1000 (1264).[Carbon print ('Autotype'), 264x189mm]. View of the ruined temple from a different angle. View of the ruins of the 8th-century Surya Temple at Martand. View of the ruins of the Buddhist temple. Bengal list pp. 254-255. See also, Alexander Cunningham, 'Archaeological Survey of India. Report for the year 1871-72' (A.S.I. vol. III, Calcutta, 1873), pp. 94-95. View of the ruins of the great mosque on the summit of the hill. View of the ruins of the hill fort at Byana. View of the ruins of the Nagbal Temple at Wangat. View of the ruins with a European (Beato?) and two Indians in the centre. The print is listed in H.Hering's catalogue of Beato photographs as No.4 in the section 'India - Delhi (Second Series)'. The description reads: 'Observatory and Battery; in the distance Hindoo Rao's House'. View of the same fresco as print 19, but seen here after restoration.[Albumen print, 198x142mm]. View of the same scene as print 11, but seen after restoration.[Albumen print, 204x143mm]. View of the Samman Burj. View of the sanctuary, a massive, square, pyramidal structure. '...North and East fronts of the great Pagoda'. Duplicate (later printing) of Photo 1000 (3040). Another copy at Photo 212/4 (22). View of the Sanganer Darwaza. View of the Sassoon Institute in Esplanade Road. The view also shows the side of Watson's Hotel and in the distance, the Oriental Bank. View of the Sat Manzili palace, with the walls of the fort and the moat in the foreground. Print 8 of Henry Hinton's The Ruins of Beejapoor, in a series of nineteen views from collodion negatives (Bombay, 1860). View of the scaffolded temple, with sculpture arranged in a display in front of the building. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View of the scaffolded temple, with sculpture arranged in a display in front of the building. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View of the school buildings, largely obscured by the wall and drinking fountain in the foreground.[Albumen print, 254x193mm]. View of the screen in the Hall of the Scales of Justice in the Khas Mahal. View of the sculpture from the left. View of the sculptures to the north of the mandapa, with an Indian figure at the right holding a measuring rule to indicate scale. View of the seaward-facing side of the fort, built in 1788. The print is mounted in a Christmas card sent by Sir Ranjitsinhji Vibhaji, Maharaja of Navanagar, to Lord Reading. View of the Secretariat. View of the series of Jain Tirthankara images carved in the side of the Urvahi Valley on the western side of the plateau. View of the Shewthalyaung. View of the Shiva image in the interior. View of the Shore Temple. View of the Shwe Dagon Pagoda undergoing some restoration work. View of the Shwe Pyathat or golden seven-roofed spire, which covers the Lion Throne in the Palace and is known as 'the centre of the universe'.[Albumen print, 214x269mm]. View of the side of the palace facing the Gopal Sagar tank. View of the six standing columns of the temple, with a man standing to one size.[Gelatin silver print, 53x78mm]. View of the small, plain shrine, looking towards the entrance and the linga within.[Gelatin silver print, 142x190mm]. View of the small fort, perched on massive boulders. View of the small Meruvardhanaswami Temple at Pandrethan, near Srinagar. View of the small mosque and tomb chamber, also seen in print 2256. View of the small prayer hall of the Kamal Maula Mosque. View of the small single storey isolation ward.[Albumen print, 377x306mm]. View of the small temple near the Bhimgoda Talav (tank). View of the small tomb and Idgah, with hills beyond: 'The tomb in the foreground was erected a few years ago over the remains of a Musalmani fair, and near it is an Idgah. The term Idgah is applied to a platform enclosed by a wall, where Muhammedans assemble for occasional devotions especially at the seasons of the Ids or festivals.' Albumen print, 373 x 256 mm. View of the small votive stupas: 'On the eastern margin of the Fath Jamal tank, and about four or five hundred yards to the north-east of Kalika Mata's temple, is a scattered group of some ten votive stupas in carved stone. The larger ones stand about 3'3"" high and are 1'8"" square at the base. They are all of one pattern. The upper portion is cylindical, with a domed top, from which a tee must have arisen, as the small square fracture of the neck is apparent upon all. No tee, however, was found. Around the base of the cylindrical part is a string course of sixteen little seated Buddhas, each in a little niche. Beneath this is is a constricted circular neck with lotus leaves springing from it, an upward row and a downward row. Beneath this, again, the stupa is square with projecting niches, one on each face, in each of which is a seated Buddha...The stupas are all a good deal weather-worn, so that the finer detail of the carving is lost...' ('Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1904', p. 45). View of the small wooden building, with machinery visible inside. Print in poor condition, with overall fading and yellowing.[Printing-out paper, 322x259mm]. View of the south column. Signed J.J. in the negative. View of the south elevation of the open-sided columned pavilion in front of Shaikh Ahmad Ganj Baksh's Tomb, with the tomb itself largely obscured in the background. View of the south fa�ade from the garden. View of the south gateway of the Taj complex. This print and No. 958 have been mixed up in the album, the photographs appearing with the wrong captions. View of the south side. View of the south side looking from the maidan. View of the spot where Akbar was declared Emperor. From south-east. View of the square five storied tower of the palace complex. View of the square tower of the Nepalese temple, with tiers of sloping roofs supported on carved wooden brackets. The temple overlooks the Lalita Ghat. View of the stairway and entrance inside the Yeni Valide Mosque, from the north-west. Print in poor condition, with overall spotting.[Albumen print, 303x371mm]. View of the station building and platform. View of the station building and platform. View of the station opened in 1894. View of the station platform. View of the station with a group standing on the platform. View of the station with Public Works wagons on the tracks. View of the statue in the centre, framed by text. View of the statue of a king or sage, popularly identified as King Prakramabahu I, with a European man standing beside the sculpture to indicate scale. This is Harry Charles Purvis Bell (1851-1937), Archaeological Commissioner of Ceylon 1890-1912.[Albumen print, 138x199mm]. View of the stone temple car, with the mandapa beyond. View of the stone tower known as the Minar-i-Chakri, which marks the pass at the top of Takht-i-Shah, to the south of Kabul not far from the village of Shewaki, with a group of soldiers posed at the base. The tower collapsed in 1988 from lack of maintenance. For a more detailed description, see Edgar Knobloch, 'The archaeology and architecture of Afghanistan' (Stroud, 2002), p. 85. Other copies at Photo 449/1(4) and Photo 449/2(35). View of the street frontage of the Jami Masjid. View of the stupa at the western entrance to the city, with the gateway running through it.[Photogravure, 148x114mm]. View of the stupa from a different angle. View of the summerhouse: 'To the north and south of the Palace platform are the royal gardens, containing ornamental tanks and streams of water, and laid out with grottoes, rockeries, winding paths, rustic bridges and arbours sheltered by groves of tamarind, cocoa-nut, bamboo, and other flowering or fruit bearing trees. These grounds were laid out by one of the many foreigners in the King's service, and here the Court spent a good deal of its time. It was in the summer house of the Southern Garden, that the King and his Queens had taken refuge on the arrival of the British troops in 1885, and on the verandah of this house he surrendered his crown and country to General Prendergast and Colonel Sladen, the Political Officer. A brass tablet beneath the window records these facts, which took place on the 29th November 1885.' (George W. Bird, Wanderings in Burma, Bournemouth and London, 1897, p. 258).[Albumen print, 266x202mm]. View of the Suraj Bhavan from the south. Duplicate at Photo 430/27 (29). View of the surrounding wall. View of the surviving two stories of the Kalyana Mahal. Duplicate at Photo 3/2 (128). View of the Taj framed by the arch of the main entrance. View of the Taj from the gardens. View of the Taj from the terrace on the Jumna side. View of the Taj Mahal, framed by the entrance gateway. View of the Taj Mahal, looking along the bank of the Jumna from the north-east. Print unsigned, but probably by Sach�.[Albumen print, 286x229mm]. View of the Taj Mahal from the corner of the quadrangle.[Albumen print, 84x96mm]. View of the Taj Mahal from the garden. View of the Taj Mahal from the gardens. Small faded print. View of the Taj Mahal from the gardens. View of the Taj Mahal from the north-west, looking along the bank of the Jumna.[Albumen print, 83x95mm]. View of the tank of Parthasarathi temple. Probably by Nicholas Bros. View of the tank with the Post Office on the far side. View of the Teli-ka-Mandir temple. View of the Teli-ka-Mandir Temple. Tear in centre of print. View of the temple car, built of wood with a square tower of palm leaf thatch above. A second car, with a pyramid shaped upper part, stands behind. View of the temple complex from the south. View of the temple from the opposite shore. View of the temple from the opposite side of the sacred tank. View of the temple on the banks of the Vishwamitri. View of the temple tower from a different angle. View of the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x197mm]. View of the the Taj Mahal from the south. View of the throne, with iron railings in front. View of the throne. View of the throne protected by an iron railing. View of the tomb from the top of the mosque walls. View of the tomb looking through arched gateway. View of the tomb of Iltutmish. View of the tomb of Khusrau's mother in the Khusrau Bagh. This is a square two-storey structure surmounted by chhatri. View of the tomb of Timur. View of the tomb showing exterior decorations in pietra dura. View of the tombs of Saadat Ali Khan and his wife, Khursid Zadi. View of the top half of a gateway. View of the top storey of the Dasavatara temple. There is a caption on the reverse signed 'JJ' (J. Johnston?). The blind stamp of the paper manufacturer, 'Cooke London', is on the left edge of the print. View of the tower. View of the tower. View of the tower from the street. Duplicate of Photo 1008/9 (2306). The print in the present album is a clearer image.[Silver printing-out paper, 156x212mm]. View of the tower in the city walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 197x256mm]. View of the towers of an unspecified temple. Negative only, no print. View of the Treasury. View of the triple-arched gate leading to the Husainabad Imambara. View of the triple-headed Shiva. View of the triple-headed Shiva image. View of the two brick godowns, single storey buildings with a series of projecting buttresses. Negative only, no print. View of the two massive chinthes or leogryphs at the entrance to the pagoda at Hopang. View of the two sanctuaries linked by an open porch. Described in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pp. 79-82: 'The most elaborately finished of all those in the village...In this temple the Chalukyan builders reached their high watermark in decorative architecture...This is a double temple, that is, it has a second shrine facing the main building on the east, but separated from it by a raised platform, which was, perhaps, at one time, an open hall roofed over. This style of double temple is not frequently met with...' View of the two sanctuaries linked by an open porch. Described in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pp. 79-82: 'The most elaborately finished of all those in the village...In this temple the Chalukyan builders reached their high watermark in decorative architecture...This is a double temple, that is, it has a second shrine facing the main building on the east, but separated from it by a raised platform, which was, perhaps, at one time, an open hall roofed over. This style of double temple is not frequently met with...' View of the two stone horses, on platforms flanking the former gateway.[?Matte collodion printing-out paper, 198x150mm]. View of the two stone lions, with the Potala visible in the distance.[Gelatin silver print, 156x109mm]. View of the two-storey building from the garden, with (presumably) the British Resident and his wife seated in a horse-drawn carriage in the driveway and Residency staff and servants posed on the balcony and verandah. Prints 25-32 are uncredited, but may possibly be part of the Bourne and Shepherd series of views of Alwar, trimmed down to fit the dimensions of this album. View of the two-storied royal buildings on the west side of the tank. the identification of the building as a harem is conjectural. View of the University Clocktower and High Court. View of the Unkapani Bridge.[Albumen print, 305x383mm]. View of the Unkapani Bridge from the Golden Horn.Albumen print, 314x382mm]. View of the upper level of the highly embellished fa�ade. View of the upper stories of the tomb from the terrace of the podium. View of the vaults of the Yeralti Mosque.[Albumen print, 383x309mm]. View of the verandah of the Mussaman Burj, looking north towards the Jumna.[Albumen print, signed 'Sach� 213' in the negative, 218x295mm]. View of the vimana of the Brihadishvara temple. View of the Visvanatha and Parvati temples. View of the walls on the eastern side of the fort. View of the Western India Club? View of the west side of the city, with the Hiran Minar in the centre of the photograph.[Albumen print, 84x96mm]. View of the wood and canvas model from the south-west, with the Bengal Secretariat in the background. See note at print 3. For a view of the replica as finally erected, photographed from the same viewpoint, see Curzon's 'British Government in India' (2 vols, 1925), vol. 1, p. 166.[Platinum print, mounted on board with photographer's stamp, 288x242mm]. View of the Yedikule Gate (beside the castle of the same name) in the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x200mm]. View of the Zafar Mahal in the garden. From south. View of three buildings, from left: Rajabai Clocktower over the University Library, the University Convocation Hall and the Secretariat. View of three houses situated in the garden of the Hospital.[Albumen print, 368x295mm]. View of Toda houses, with villagers posed in front.[Albumen print]. View of tomb. From south-east. View of tomb and small mosque. View of tomb in ruinous condition. View of tomb platform in foreground, with the tomb of Ali Adil Shah I beyond. View of tombs, with a mosque in the right background. View of tombs/cenotaphs in Chhatri Bagh. View of tombs. From north-east. View of tombs and mosques from the Tomb of Jamshid Quli Qutb Shah. This view was taken from the south terrace of the tomb of Bibbi Mariam. It represents a few of a large collection of tombs and mosques of a similar style of architecture, that extend from the spot from which this view was taken, up to the walls of the Fort of Golconda. It was taken about half an hour before sunset, and at right angles with the latter; when viewed at that hour, the scene presents a most beautiful appearance, the mellowed flood of light from an Indian sunset reflected on the crumbling ruins gives a very charming effect to the scene.'[Albumen print, 238x188mm]. View of tombs in the graveyard. Duplicate at Photo 3/2 (77). View of tomb tower.[Gelatin silver print, 84x141mm]. View of tongas outside the dak bungalow. View of Tongsa Dzong, with mountains beyond. View of top half of inside of north torana at Sanchi. View of top of shrine, projecting from ground. View of torana. Captioned and numbered in the negative. Similar to print 1321, but of poorer quality. Another copy of this print at Photo 1002 (1322). View of tower, with face carved in relief on each of its four faces. These images on the 54 towers of the Bayon are now thought to represent King Jayarvarman VII rather than Brahma, as Thomson asserts (the temple is considered to be a Buddhist rather than a Hindu foundation).'This subject embraces one of the towers of 'Prea Sat Ling Poun' (the place where they play hide-and-seek). This is a modern name given by the natives, on account of the labyrinth of passages and apartments that occur beneath the towers. The temple is so much shrouded with forest trees, climbing vines, and thorny brushwood, that it was only after a hard day's cutting, with a party of natives, that we succeeded in clearing the tower sufficiently to obtain a photograph. This edifice, like Nakhon Wat, occupies nearly a square, measuring from 400 to 500 feet each way. it, too, has an outer corridor (the roof of which has fallen in). The back walls, like Nkhon Wat, are also adorned with bas-relief representations of battle scenes, &c...Our efforts to produce a plan of the building proved abortive, as we had not sufficient men to make the necessary clearings, and we would have been exposed at every step to the danger of being crushed by falling masses of stone, as some of the blocks seemed to depend for their position upon the vines that were coiled, like a multitude of cables, around them. The building, as nearly as we could ascertain, has one great central tower, with fifty minor ones, corresponding to that shewn in the photograph, grouped around it. Each tower is surmounted with the four-faced Phrohm (Brahma). The passages beneath, in the lower storey of the temple, are so numerous and intricate that we frequently found difficulty inextricating ourselves from the labyrinth, while their dark, damp interiors were suggestive of the scene of a nightmare. As we advanced, rifle in hand, every step brought down flights of shrieking bats that flapped their clammy wings against our faces.'('Description of the Photographs', p. 67).[Albumen print, 186x231mm]. View of tower and prison building on the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x200mm]. View of tower from the riverside. From north. View of tower near Rambagh. View of tower of unidentified shrine. View of tower overlooking river. View of towers on the Theodosian Walls.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View of towers on the Theodosian Walls built by Emperor Manuel I Comnenus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x201mm]. View of tree, with perimeter railings in foreground.[Gelatin silver print, 55x80mm]. View of trees, with dome of Taj visible in background. View of trench. View of Trinity Church. View of triple-arched entrance, with richly-carved surrounds. The series of views of the temple is described by Ravenshaw as follows: 'The eight views of Kantonugger represent different features of a Hindoo temple to Kanti (Vishnu), commenced in 1704 by Rajah Prannath (Martin's India, page 628). It is in perfect preservation: the ruin prognosticated by Dr Buchanan has not come to pass. It is still kept up by the Rajbaree; and the image, said to have been brought from the Jumna, is still kept in the temple. The building itself is profusely ornamented with sculptures representing the various legends of Hindoo mythology. These sculptures are not mouldings in brick, such as are so common in Gour, but are all chiselled out from the bricks after erection. The bricks themselves are very hard, as may be supposed from the 150 years these sculptures have been remaining in preservation.' (Descriptive note of the photographs of ancient architectural remains in Kantonugger and Bannugger, Bengal pub. proc., no. 26 of October 1871, IOR/P/156). Modern photographs show that the towers of the building have been removed (George Michell (ed), Brick temples of Bengal (Princeton, 1983), pl. 605). India Museum no. 821. Duplicate of Photo 1000 (3328). View of triple-arched entrance to Langar Khana (almshouse) at left, with gateway to enclosure of Amir Khusru's Tomb at right. View of triple-arched screen of the small mosque. View of two buildings perched on hillside. View of two bungalows with cars parked outside. View of two chairs. Print in poor condition, with folds.[Signed in pencil 'Ramchunder', 206x143mm]. View of two domed tombs, possibly at Bidar. A faded and yellowed print. View of two domed tombs. From south. View of two large dolmens. The closer structure has a linga placed inside it. The side walls of the more distant structure have been replaced with brick View of two large guardian images or 'chinthes' flanking the gateway to a stockaded area. Precise location unspecified. The print shares the same reference number series as print 19, which is dated c. 1885.[Albumen print, signed 'W.D. B.33', 199x134mm]. View of two men sitting benaeth Firoz Shah's Lat. View of two of the three shrines, with sculpture of Sala in combat with a tiger on top of the main shrine at left. Numbered '15' in pencil in top right-hand corner of print. Published as plate 32 of Taylor and Fergusson, 'Architecture in Dharwar and Mysore' (London, 1866), there incorrectly identified as Hurulhully (Harnahalli). There is also a slightly reduced and cropped copy of the print at Photo 1000/10 (1089). View of two of the tombs, towered brick structures with tiered roofs. View of two sculpture pieces. Faded print. View of two statues of figures, with a portion of the lintel they originally supported attached, lying in a field. These pieces can also be seen in the background of print 2498. View of two stone elephants, raised on platforms.[?Matte collodion printing-out paper, 198x144mm]. View of two-storey pillared pavilion.. View of two storey stone tank house.[Albumen print, 276x218mm]. View of two-storied mandapa near the Virupaksha Temple. View of two temples, standing side by side. Built in a similar style, these are wooden buildings with steeply pitched roofs deep gables filled with carved work. The temples stand on stone platforms. View of two temples standing amongst undergrowth, with columns (one standing, one with base only) in the foreground. The temple at the right is the Mahishamardini Temple (see Photo 1002 (1565) for another view). Photograph by Colin Murray for Bourne and Shepherd. View of Ulugh Beg's madrassa with the market place in the foreground. View of unexcavated mound. View of unfinished gopura. View of unidentified bridge. View of unidentified pagodas. Print unsigned, but probably by Jackson. View of unnamed gateway (Badalgarh Gate?). Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). View of upper gallery with murals above.[Gelatin silver print, 160x112mm]. View of upper half of dvajastambha seen in print 2832. View of upper portion of dome, with urn-shaped finial. View of upper portion of east face of inscription pillar. View of upper portion of fa�ade from left. View of Uttra Fort on the Penganga River. View of verandahed entrance. View of Vishnu image, framed by temple doorway. An indistinct photograph. View of visitors leaving the Taj via the main gateway. View of wall, showing decayed state of brickwork. Duplicate at Photo 1008/6 (825).[203x153mm]. View of wall and bastion.[Albumen print, 325x262mm]. View of wall and chhatri from another angle. View of wall and collapsed bastion. View of wall and gateway. Duplicate at Photo 3/2 (66). View of wall and ruined bastion. View of wall inside Iltutmish's Tomb at the Qutb, shown elaborate calligraphic decoration. View of wall of unidentified building, presumably British. View of walls and bastions. View of walls and chhatris overlooking a river. View of walls and ramparts. Duplicate at Photo 1008/8 (2249).[202x153mm]. View of walls with arched colonnade. View of waterfront buildings, including the Hong Kong Hotel, seen from the water, with a steam pinnace in the foreground.[Albumen print, 289x225mm]. View of well, with construction work in progress. Explanatory note on reverse of print reads: 'Pumping in progress in Well No. 100. Pumping was continued for 12 days and nights, before the well water was sufficiently reduced to allow of the column bases being placed in position. Pump employed consisted on one 6"" centrifugal pump, two No. 5 and one No. 7 pulsometer during the pumping operations and they were discharging about 2,000,000 gallons in the 24 hours.'[Gelatin silver print, 290x241mm]. View of whitewashed mausoleum in the form of a pavilion. A note on the reverse by J.W. Stewart reads, 'I think, from CPS's description in his letters, that this is the the tomb of Sir Robert Sandeman (d.1891) at Las Bela. See page 163 of 'Envoys of the Raj'.'[Gelatin silver print, 162x211mm]. View of window and surrounding facade.[Carbon print]. View of wing of building.[Albumen print]. View of wooden building with tiered roof.[Printing-out paper, 150x112mm]. View of wooden footbridge and gateway. View of wool-washing machinery.[Albumen print, 381x315mm]. View of Yedikule Castle from the sea.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View on Khshar Bagh. View on the balcony. View on the lower balcony. View on the platform of the pagoda, with covered entrance at left. View on the roof. From south-west. View on the roof of Akbar's tomb. From west. View on the roof terrace. View on the verandah. View over a lake to a palace building. View overlooking the (?)Jai Niwas Garden. A somewhat faded print. View overlooking the tank named Gopal Sagar. Duplicate at Photo 37 (38). View over wall towards house. View reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cviii (a), and described p. 116: 'Perched upon a lofty bastion of the citadel walls...it is a very plain building, with little about it of interest, save the remains of some wall painting within...It is, wiothout doubt, a late building, To make the old bastion stouter and stronger to carry the mosque, it was further encased within an extra thickness of arched masonry; while a firm foundation was obtained upon the top by laying great heavy cross beams of wood under the foundations of the building.' View reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ii (a), and described pp. 54-57: 'The Gagan Mahal, or 'The Sky (kissing) Palace' (Hall of Assembly)...is notable for the immense arch spanning the whole front of the darbar hall, which, with a tall narrow one flanking it on either side, forms the fa�ade of the building. It is now roofless, and is naught but a vast empty shell of masonry...' The Sat Manzili is in the background left of centre. The small square building on the left was converted (from a building of unknown function) for use as the station church. View reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lvi, and described pp. 77-79: 'A curious little building...which stands upon the east side of the road running from the citadel to the Landa Qassab bastion...It is a two storeyed building, but not a two-storeyed mosque, the upper floor, alone, being a prayer chamber, while the ground floor is a hall or rest-house. The reason for placing this mosque upon an upper storey is not apparent, unless it was that the buildings around it were too congested to afford space for a mosque and sarai otherwise...The dome is of the ribbed melon-shaped variety, which occurs on two or three buildings at Bijapur, and the bud finials of the minars are also ribbed...' View reproduced in Henry Cousens, 'Bijapur and its architectural remains' (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xcviii (a), and described p. 107: 'Fifty yards to the south of the tomb of Ali Adil Shah I is a beautifully cut and moulded tombstone, in a dark greenish-black basalt, standing upon a high and extensive ornamental basement. It has been so carefully wrought and and finely finished, that one is led to believeit must be the resting place of someone of note, yet both tradition and history are silent regarding it....' View reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. cviii (a), and described p. 116: 'Perched upon a lofty bastion of the citadel walls...it is a very plain building, with little about it of interest, save the remains of some wall painting within...It is, wiothout doubt, a late building, To make the old bastion stouter and stronger to carry the mosque, it was further encased within an extra thickness of arched masonry; while a firm foundation was obtained upon the top by laying great heavy cross beams of wood under the foundations of the building.' View reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. ii (a), and described pp. 54-57: 'The Gagan Mahall, or 'The Sky (kissing) Palace' (Hall of Assembly)...is notable for the immense arch spanning the whole front of the darbar hall, which, with a tall narrow one flanking it on either side, forms the fa�ade of the building. It is now roofless, and is naught but a vast empty shell of masonry...' The Sat Manzili is in the background left of centre. The small square building on the left was converted (from a building of unknown function) for use as the station church. View reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. lvi, and described pp. 77-79: 'A curious little building...which stands upon the east side of the road running from the citadel to the Landa Qassab bastion...It is a two storeyed building, but not a two-storeyed mosque, the upper floor, alone, being a prayer chamber, while the ground floor is a hall or rest-house. The reason for placing this mosque upon an upper storey is not apparent, unless it was that the buildings around it were too congested to afford space for a mosque and sarai otherwise...The dome is of the ribbed melon-shaped variety, which occurs on two or three buildings at Bijapur, and the bud finials of the minars are also ribbed...' View reproduced in Henry Cousens, Bijapur and its architectural remains (A.S.I., Imperial series, vol. XXXVII, Bombay, 1916), pl. xcviii (a), and described p. 107: 'Fifty yards to the south of the tomb of Ali Adil Shah I is a beautifully cut and moulded tombstone, in a dark greenish-black basalt, standing upon a high and extensive ornamental basement. It has been so carefully wrought and and finely finished, that one is led to believeit must be the resting place of someone of note, yet both tradition and history are silent regarding it....' Views at Port Said, Malta, Calcutta, Madras, Darjiling, etc. Includes informal snapshot portraits, shipboard scenes, views of Government House, Madras, etc. View showing a Taj-replica tomb and the Jami Masjid in the distance. View showing base of excavated bastion. View showing broken columns and capitals. View showing carved detail on entrance archway and interior. View showing carved wheel (with spokes in the form of miniature figures) and sculpture of prancing horse on the wall of the shrine. Duplicate at ASS (197). View showing carved wheel (with spokes in the form of miniature figures) and sculpture of prancing horse on the wall of the shrine. Duplicate at Photo 1008/1 (197). View showing cusped arches. View showing decorative tilework on the walls inside the vestibule of the Ortakapi Gate.[Albumen print, signed 'Abdullah Fr�res' in the negative, 202x258mm]. View showing display cases and pictures. From west. View showing doorway and part of wall to right.[?Matte collodion printing-out paper, 280x193mm]. View showing earthquake damage. View showing exposed remains of a wall. View showing front of building.[Gelatin silver print, 98x78 mm]. View showing hall with wooden pillars and screens. From south. View showing inner courtyard. View showing moulds for concrete piles, ready to be filled; the method of vibrating the concrete in the moulds; and filled moulds with sides removed.[Gelatin silver print, 199x144mm]. View showing rich tilework decoration. Print in poor condition, with overall spotting.[Albumrn print, 385x310mm]. View showing sculptural detail of scroll panel. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxxviii (b): 'Each of the panels ...is filled with a beautiful scroll of arabesque with little musicians filling each of the whorls...' View showing sculptural detail of scroll panel. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxxviii (b): 'Each of the panels ...is filled with a beautiful scroll of arabesque with little musicians filling each of the whorls...' View showing section of the rock carving. View showing stone elephants at either side of the Delhi Gate. View showing temple foundations and two sculpture slabs. View showing the approach through the lion gates. View showing the carved fa�ade of the rectangular shrine. View showing the main group of shrines in the temple - a cluster of miniature dagobas, each face of which contains a small tirthankara image seated in a niche. See note on location of this temple at print 2079. View showing the minbar seen in print 40 and, to the left, the mihrab (prayer niche). Several feet of the lower part of the structures are beneath ground level.[Woodburytype, 236x185mm]. View showing the rows of sculptures inside the temple. The accompanying letterpress caption note reads: 'No. 317. In this temple there are about 500 of these wood cut images which are called '500 genii' whose postures are unlike each other, and the pots in front of them are incense pots. Chinese legend says that these 500 genii were bats, one day the great Budha Yii Lui Foo found them crouching on a large trunk of trees, and by prayer and fast he converted, and transformed them into genii, and allotted to each of them a place of worship in this temple.'This photograph is reproduced in Clark Worswick, 'Imperial China. Photographs 1850-1912' (Pennwick/Crown, 1978), p. 57, where it is credited to Emil Rusfeldt (Hong Kong Photographic Rooms) and dated 1871-74.[Albumen print, 291x214mm]. View showing three of the four Adinatha images (the fourth concealed behind the pillar against which the statues are seated) in the temple. This is the Chaumukha - a Jain term for a sanctuary with four such votive images facing four entrances - which gives the temple its name. View showing timber buttress. View showing two of the shrines of the temple, with the sculpture of the Hoysala king slaying the lion visible on the left-hand tower. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese Districts' (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl. cxii (b), and described pp. 105-106. View showing two of the shrines of the temple, with the sculpture of the Hoysala king slaying the lion visible on the left-hand tower. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese Districts (A.S.I. vol. XLII, New Imperial Series, Calcutta, 1916), pl. cxii (b), and described pp. 105-106. View showing water channels. From north. View showing workers on the partially completed dome.[Gelatin silver print, 292x233mm]. View shows a European man looking at the river from the Mussaman Burj. View shows a gateway and courtyard with the tomb of Saadat Ali Khan in the distance. The print is numbered 'L21' in the negative which probably corresponds to number 21 in H. Hering's list of Beato views: 'A Gateway leading into the Kaiserbagh'. See Introduction for notes on the negatives. View shows a group, including Mrs Storrs-Fox, sitting by a tank outside a ruined temple(?). Tikri lies north of Jammu on the Srinagar road. View shows a group of monks outside a temple. Although unattributed there is a strong possibility that all or some of Prints 59-82 are by Willoughby Wallace Hooper. The prints are of a similar size and style to those published by Hooper (see Photo 312) and Print 68 is almost an exact duplicate of a print (no 39) in his book. View shows a tall minar next to a gateway, the minar and surrounding buildings in poor repair. The location is unknown and could be Central Asia, North Africa or the Middle East. View shows a two-storey building with a carriage drawn up outside. A European man (Good?) is standing by the carriage and another stands on the left, servants are in attendance. View shows carriages parked in front with a row of shops at No 2 Chowringhee Road including the premises of J.A. Sarkies and W. Trower & Co, bakers & confectioners. View shows entrance to mandapa with domed sanctuary beyond, not the temple gopura. The doorway is flanked by a dvarapala (figure on right missing). The ruinous condition of this temple, and the missing dvarapala, is described the Southern Circle report for 1910-11, pp. 39-40. View shows four cadets standing in a courtyard. The print is heavily annotated (not contemporary) in the surrounding margins with the following locations identified: 'Barrack No I. Entrance to barber's shop. Dormitory for 18 on Ground Floor. Arches of Arcade. Chapel above (over arches). Mr Cook's room. Lithographers rooms (extreme corner 1st Floor). First Floor dormitory for 18'. View shows the lattice screen and cenotaph. Views include the gopura and mandapa. Views of a ruined hall with only the arched walls still standing. Views of bridges in NWFP. Views of house and gardens under construction.[Gelatin silver prints]. Views of ruins of temple after 1905 earthquake. Views of school buildings, Ludlow's bungalow, pupils playing football, boys at work in classroom. See introduction to album for a brief note on the school. Views of south and main gateways at Chanda.[Gelatin silver prints]. Views of the remains of the brick and plaster sculpture, with a figure posed to indicate scale.[Gelatin silver print, 55x80mm]. Views of the Taj Mahal, the River Jumna, etc. View taken during anti-plague work in the town. View taken from an elevated position to the left looking down onto the porch. Most of the richly carved columns of the porch have fallen or are in a decrepit state. 'Recd. from Photo. Branch 31/12/74.' Duplicate of Photo 1000 (505). View taken from a similar level to print 83, looking up towards the fort from the south-west corner, with a figure standing left of centre. (Gedrosia, fig. 9.) View taken from a similar position to print 2036, showing the chaitya hall after excavation, with the votive stupa in the foreground. View taken from the same angle as print 146. View taken from the unfinished gopura to the east of the Pudu Mandapa. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View taken from the unfinished gopura to the east of the Pudu Mandapa. Credited to Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. View taken on a panoramic camera. View taken outside a building with five Indian police constables standing in a line and various Europeans and Indians posed to the left and rear. Possibly at Burdwan. View through a doorway. Firoz Shah's Lat is just visible in the distance. View through an enfilade of arches, towards figures at prayer. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 49. View through arched gateway. View through trees. View through trees. View through trees. View through wooden gateway into courtyard. View towards (?monastery) buildings. View towards distant hills.[82x83mm]. View towards distant hills. Poor quality print.[104x78mm]. View towards fortified palace on hilltop.[Gelatin silver print, 88x114mm]. View towards fortified tower on hill. View towards gatehouse of enclosure, with temple towers beyond.[?Collodion printing-out paper, 207x152mm]. View towards gopura, with palms in foreground.[Gelatin silver print, hand-coloured, 120x177mm]. View towards house, obscured by banyan tree in foreground.[Gelatin silver print, 98x78 mm]. View towards houses on cliff face. View towards houses on hillside. View towards portico. View towards ruins of substantial building. View towards sanctuary tower of the Kedareshvara Temple, with Indian figures posed in foreground.[Albumen print, 197x140mm]. View towards the temple gopura, with river in foreground. View with a European couple (the Resident and his wife?) outside. View with crowds in the street including a state elephant. View with crowds outside a gateway. View with ruins in foreground, mountains beyond. View with the Post-Master General and his family outside the house. Vignette view from the river. Vihara at the Ruvanveli dagaba at Anuradhapura. The view shows the remaining columns of the vihara or temple, with a stupa beyond. Second copy negative at B.25610. Vinery in foreground, with trellised paths leading off from central pavilion, with quadrangle and palace buildings beyond. Inscribed in pencil on reverse: '342 Vinery & buildings in the Kaiser Bagh (Lucknow).' The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, numbered '342' in the negative, 214x161mm]. Vishnu in his boar incarnation. Vishnu sleeping on the serpent. Vishnu striding through the cosmos. Vuew of the facade. VView from garden looking down onto house. VView looking towards porch and mandapa, with sanctuary tower beyond. Wall and arched colonnade. Wall in foreground, with row of finials in the form of miniature chortens running along the top. Ha-po Ri in the background, with a temple visible at the summit. Wall in foreground partially overgrown with vegetation. Wall in foreground partially overgrown with vegetation. Wall painting and doorway. Wall painting inside the pulpit platform seen in print 458. 'The two priests wear long priestly hats, nearly like the lamas' hats of the present day.' Walls and entrance to fort. Photographed by Cousens' assistants (see note at print 1415). 'The fort at Hatta, 7 miles west of Raneh, is perhaps one of the strongest and best in the district, and is in a fair state of preservation' (Henry Cousens, 'Progress Report of the Archaeological Survey of Western India, for the months May 1893 to April 1894', p. 7).Captioned and numbered in the negative. Another copy of this print at Photo 1002 (1222). Walls of ruined fort on road between Saugor and Deori. Wall with arched colonnade. Waterfront view looking towards the Customs House, with various local craft in the water in the foreground.[Albumen print, 386x305mm]. Wellesley Bridge just visile in the background. Wesleyan Mission Bungalow. Western side. Duplicate at Photo 10/18 (29). Second copy neg at B.11252. West face. West gate in right foreground, with arched colonnade beyond. Wheel of a ratha or temple car? When Shah Jahan laid out the Delhi-Lahore Road pillars called kos minars were erected as markers along the route; a kos usually being equal to 2 miles. Window with similar carved designs to print 100. Winter scene. Wit an Indian man standing between the uprights as an indication of scale. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. clii (c), described p. 139: 'But the largest dolmen met with in these districts is one which stands in the village of Motebennur. It is of the same type as that near the temple of Galagnatha at Aihole. Four roughly-hewn uprights, standing about eight feet out of the ground, support a great flat horizontal slab, seventeen and a half feet long by four feet broad. There are two other uprights, whose tops have fallen away from the support of the slab.' With a portion of Humayun's Tomb visible at right. With arched gateway at right. With base of Qutb Minar visible in background. With bas-relief. Faded print. With bas-relief. Poor quality print. With beggar seated in foreground. With Buddha figure. With building partially obscured by foreground trees. With bullock cart and servants posed on level ground in middleground. Signed H.D. in the negative. India Museum no. 628. Duplicate of Photo 1000 (2571). With camels and keepers posed outside the long low building. With carved figure of man holding a mace. Duplicate (later printing) of Photo 1000 (2938). Another copy at Photo 212/1 (39). With collapsing wall in foreground supported by scaffolding. With conservatory in background. With cows grazing in foreground. Stereoscopic pair. With cushion, arm-rests and hookah laid out on floor. With decorative carved work. With decorative relief carving. With descriptive pencilled note on the reverse. With entrance doorway and flanking dvarapalas in the foreground. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliv (a). Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1342a). With entrance doorway and flanking dvarapalas in the foreground. Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. cxliv (a). With European and Indian figures seated reading. Figure seated at left is probably the ruler's son, also seen in prints 65-70. With European archaeologist making notes. With European group posed in front of the ruins. The two women on the left are Lady Frances Young (wife of Sir William Mackworth Young, Lieutenant-Governor of the Punjab) and Lady Edith Dane. Sir Louis Dane is seated to the right (stroking dog). With excavated area in foreground. With figures posed in foreground. With figures representing 'Shiva and Parvati resting on the mountain Kailasa, to support which, the many-headed, and many-handed giant Ravana, was condemned as a punishment for the rape of Sita.' Duplicate (later printing) of Photo 1000 (2937). Another copy at Photo 212/1 (38). With Firoz Shah's Lat just visible in the left background. With four whitewashed shikaras rising in the background. Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1380). With four whitewashed shikaras rising in the background. With ghats in foreground With glass and mirror-work mosaics surrounding the archway. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. With glass and mirror-work mosaics surrounding the archway. Printed from a broken glass plate. Signed in the negative O.S. Baudesson 1882. With group posed in front of building. With houses in foreground obscuring wall beyond. With Iltutmish's Tomb at left. (View from north?) With Jain temple and Archaeological Museum in background. With Jain temple in background. With Lady Henriette Sifton standing in the background. With lake in foreground.[Gelatin silver print, 93x142mm]. With large cactus plants growing from the ruined shikara. Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1329). With large cactus plants growing from the ruined shikara. With Lord Curzon's statue in front of the central porch.[Gelatin silver print, 202x136mm]. With mandapa and entrance porches in the foreground. With mandapa in foreground and shikara beyond. With mandapa in foreground and shikara beyond. With mandapa in the foreground and shrine beyond. With measuring pole and reference number '4' on label. With measuring tape placed against figure. Credited to Cole in Bloch's list, but almost certainly part of the series taken for Cole by Nicholas & Co. of Madras. With measuring tape placed against figure. Credited to H. H. Cole in T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900), but almost certainly part of the series taken for Cole by Nicholas and Co. of Madras. With Mira Bhai Temple on the left. With mountains beyond and the Drepung road in the foreground.[Gelatin silver print, 142x93m]. With nandi partially visible in the left foreground. Poor quality print. With Nandi partially visible in the left foreground. Poor quality print. With nearest corner collapsed. Colesworthy Grant's watercolour sketch of the same subject (WD 540, print 62) is taken from an almost identical viewpoint. Letterpress continues: 'This corner shows the effects of the earthquake most completely. On reaching the top by it, the surface is seen rent into broad and deep fissures - a glacier in brickwork'. With numerous local sailing craft moored at the ghat. With nurse standing beside operating table. With objects on display. With open mandapa in the foreground and shikara behind. With open-sided domed pavilion over grave in centre. With pagoda in background. With panels carved in relief. With pencilled annotation in sky area of print. Duplicate at Photo 1008/7 (1507).[203x152mm]. With pencilled colour notes on the back of the print. With pencilled notes on print indicating materials from which the room is contructed ('white marble and gold', 'white marble and mosaic'). A very faded print. With pot and foliage motif at base; garlands, etc., above. With Qila-i-Kuhna Masjid visible beyond. With Queen Victoria's statue in front of the building.[Gelatin silver print, 171x131mm]. With Qutb Minar at extreme left. With Qutb Minar beyond. With Ranjit Singh's Tomb in the right middleground. With relief carvings. With relief sculpture of seated Buddha. With richly-carved architraves and surrounds. With roadway in foreground. With ruined Tomb of Ala-ud-din Khalti at left. With sanctuary tower in foreground, looking towards gopura. With sanctuary tower in foreground. With Satdhara's Spring and Pippala's Residence in the distance. With scenes from the Ramayana on frieze in left foreground on Mahamandapa. With sculptured slabs near the entrance to the mandapa. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 135. With sculptured slabs near the entrance to the mandapa.Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 135. With sculpture pieces in foreground. With seated Buddha image. With short inscription on side facing camera. Reproduced as a lithograph in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pl. x. With sofa, chairs and occasional table. With statues of tirthankaras on the wall of the mandapa. With steps leading down into the well in the foreground. with stone lion and elephant in foreground, and (from left to right), Draupadi Ratha, Arjuna Ratha, Bhima Ratha, Nakula Sahadeva Ratha and Dharmaraja Ratha. With table set. With tank in foreground. With tank in foreground. With temple vimana visible on far side of wall. With the Buland Darwaza at extreme left, and the entrance to the liwan at extreme right. Reproduced in photogravure in E.W. Smith, 'The Moghul architecture of Fathpur-Sikri' (4 vols, Allahabad, 1894-98), vol 4, pl. 11. With the elephant sculpture in the foreground. With the gateway to the Fort in the background. With the great monolithic column in the centre. With the Iron Pillar at the right of the print. With the Jami Masjid in the background. With the Maharaja's state barge moored at the steps of the ghat. With the mandapa, with its three entrance porches, in the foreground. With the mandapa in the foreground and the sanctuary tower beyond, showing rich sculptural detail overall. The print displays a web of black lines over its surface, due to crazing of the collodion surface of the negative. Described in detail in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72... (A.S.I., vol. VII, Calcutta, 1878), pp. 82-87: '...this temple is singularly beautiful both in plan and in elevation, and although large, the parts are so well proportioned, that it does not look large, and it is only on measurement that the real size is realized; the execution is fully equal to, if not superior, to any other ancient temple I have seen...' With the octagonal tower of the Mussaman Burj in the right foreground. With the outer open mandapa in the foreground and the vimana beyond. With the outer open mandapa in the foreground and the vimana beyond. With the Potala itself visble in the background. With the Qila-i-Kuhna Masjid beyond. With the Qila-i-Kuhna Masjid in the background. With the sculptures of three buffaloes at the left. India Museum no. 90. Just visible at the extreme left is the sculpture slab of Adipala (see print 25). Duplicate of Photo 1000 (2084a). With the statue of Queen Victoria in the middleground, and that of Lord Curzon beyond.[Gelatin silver print, 202x154mm]. With the tombs of Shaikh Salim Chishti and Islam Khan at the right and the prayer hall of the Jami Masjid at the left. T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) incorrectly identifies this last as the Buland Darwaza. With the unfinished tower of the temple in the foreground. The small temple seen in prints 1206-1207 can be seen in the background. For a detailed description, see J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72; and in the Central Provinces, 1873-74 (A.S.I. vol. VII, Calcutta, 1878), pp. 204-211. With the upper half of the minbar (pulpit) in the right foreground. Print in poorish condition, with overall spotting.[Albumen print, 309x375mm]. With the vimana in the foreground. With the vimana in the foreground. With top storey of Sher Mandel visible in centre of print beyond wall and portion of Qila-i-Kuhna Masjid at extreme right. With tower in foreground. With two Europeans (Dixon and another?) seated on the steps of the tank. Signed H.D. in the negative. India Museum no. 623. Duplicate of Photo 1000 (2566). With two great stone elephants flanking the entrnace stairway. With vaulted brick building with colonnade on left. With wall paintings on blind arches in foreground. Precise location unidentified. Signed in the negative O.S. Baudesson 1882. With wall paointings on blind arches in foreground. Precise location unidentified. Signed in the negative O.S. Baudesson 1882. Woman seated at piano at right. Woodburytype. Wooden barn with pitched roof, raised on stilts.[Albumen print, 177x210mm]. Wooden bridge across a stream, with Captain Durnford and another officer posed on the structure.[Albumen print, 266x211mm]. Wooden bridge over the Cam in front of Queen's College. Wooden building raised on thick piles, with a slender central pyathat or tiered spire. Letterpress continues: 'On the banks of the Irrawadi, used chiefly on the occasion of a boat-race'. Wooden building with storage area raised above ground level. Wooden cradle being hoisted to the summit of the Shwe Dagon Pagoda, which is shrouded in scaffolding. Crowds watch from below. Second copy neg at B.25653. Wooden double doorway with painted decoration on architraves and above. Wooden Hindu temple at Chergaon in Chamba. Wooden hut raised on stilts. Wooden model of the building. This print appears to be the photograph detached from the front cover of the booklet 'The All India Queen Victoria Memorial' (see prints 405-436).[Gelatin silver print, 131x65mm]. Wooden panel with relief carving from a church in Tranquebar. Duplicate at Photo 1008/7 (1206).[153x202mm]. Wooden screen in the Mumtaz Mahal. Wooden sculpture. Wooden temple car, with the seat carried on a rearing lion. Print probably made in the 1900s from an earlier photograph.[Gelatin silver print, signed 'G.W. Lawrie' in the negative, 286x237mm]. Wooden temple with tiered roof of wooden slats. Wrongly captioned as 'Fatehpur Sikri'. Wrongly captioned as the 'Great Rumi Gate'. This is a copy of a Beato photograph (No 56 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. Yakshini graping the branch of a tree. Yakshini sculpture (stupa fragment?). Yaks loaded with baggage crossing the snow-covered plain. ?Spectators. '...A group of four persons is represented. One of these reading, probably from a sacred book, to a boy who is sitting on his right hand, and is most likely a pupil. The other two men are apparently listening, though the youth on the right of the group may be a scholar also...' Oval image. '...Silver, mounted with semi-precious stones, presented to me as a parting gift by Haji Murat [see print 58], whose father carried this whip at the battle of Geok Tepe, the last stand of the Tekke Turkmen against the invading Russian army on 24th January 1881.'[Gelatin silver print (modern print), 130x82mm]. '...the older carrying a small child on his back. Two little Tibetan girls between them, one carrying a small child on her side, the other stifling a giggle. The Tibetan men are from different families and the girls from yet another family.' 'Actors drawn up on stage, including one in the middle with a long white beard. Spectators and tents behind. Mountains in background. The play is 'Suk-kyi Nyi-ma', i.e. 'Sun Body'. The figure in the centre with the long beard is Trang-song, next to the right (as one looks at the picture) is the king, then the king's father, who has retired from the kingship. The king is asking Trang-song for Sun Body in marriage.' 'Another party of Thibetans also visited the camp, and were of course marked down for portraiture. These were of much lower social rank. In fact they might be called without libel beggars, for though not importunate they were ready and anxious to accept anything; and indeed, so far as appeared, they had no means of living from day to day apart from the alms in food or money which they might obtain. In one respect, however, they had a superiority to the mendicants of most other countries - their clothing was abundant and warm. In fact they might perhaps be more justly classed as peripatetic paupers than beggars proper.'[Albumen print, 135x94mm]. 'At least two religions, three, races, and the same number of callings, are represented in this not very numerous group. The taller men, with features of the Aryan type, are Gorkhalis, exercising the function of gamekeepers, or rather, purveyors of game to the Maharaja: they are Hindus. The two squatting on the ground, with dogs lying at their knees, are, to judge by their physiognomy, Kerantis, or perhaps Limbus, and Buddhist in religion. The fishermen are Tharos, natives of the Terai, who have the peculiarity of being proff to its malaria (which in certain seasons is deadly to anyone else), but liable to contract dangerous fever at the shortest notice in any more salubrious spot.'[Albumen print, 136x97mm]. 'At the right is a tall loom, 15 ft. high, at which two women work together, for it is rather broad. In left foreground a small child sits in a shallow, wooden tub, where his mother has placed him to be out of harm's way while she is working. A dog is playing with this child.' 'Boondelahs are the principal inhabitants of Dundelcund...and were orginally a tribe of warlike Rajpoot adventurers from Goharbhuni...Dureeahon, the subject of photograph 102, has a very dark complexion and dark eyes, his height about five feet, and he is a strongly built man. His dress consists of a padded green cotton coat and white trousers; he carries on his shoulder an arched framework of bamboo, covered with tinsel embroidery, surmounted by two red flags; at each end of the bamboo, a basket enclosing an earthern jar full of holy Ganges water is suspended, and the framework is neatly fringed with various colours. He is evidently upon a pilgrimage, and having visited Benares, or some holy city on the Ganges, is now carrying jars of water which he has vowed to pour over a sacred image, not improbably that at Rameshwar or Ramisseram, in the south of India...' 'Brahmins worship in the Kalighat temple. Spoon-shaped brass container holds Ganges water. Brahmins are the highest caste of Hindus, their mark of distinction being the piece of string seen in hand of gray-haired senior Brahmin.' 'Each player contributes one copper coin, probably a sho. Say there are four players, each in turn throws the four coins to near a small hole in the ground. One of the other players says 'Di shu', i.e. 'Hit this one.' The player who has thrown the four coins throws a larger coin and tries to pitch it on the one indicated. If he succeeds, he takes all four coins. If he hits one of the other coins he must put another coin in the pool. If he hits no coin, he neither wins nor loses anything. This photo shows a player throwing the four coins, or whatever the number be.' 'Gigantic pictures, embroidered in silk, of the present and coming Buddhas at Sertrng ceremony. The two pictures are on the walls of the Potala, and are some three hundred years old. Procession of monks (middle distance, right), passing round the base of Potala hill.' See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 74-81. 'He (right) is taking a pinch of snuff between the thumb and forefinger of his left hand. She is drinking tea out of a wooden bowl...' 'He carries something like a closed umbrella of reddish cloth, from which hang bells, turquoises and odds and ends. This is surmounted by six or seven inverted brass bowls, each on top of the next one. These bowls a Nepalese by me styles a Ma-nai. The monk, who is an old man, turns the cloth a little this way and that by the handle to show the different objects, and takes such alms as are offered, but does not himself ask for alms.' 'In this part, where she sits, the verandah comes out into the open, forming a flat roof; nothing is built above this part of the house, the topmost storey, the second, being on a small portion of the house only.' 'Left, boy grinding indigo and making it, with the addition of a little water, into a paste. He uses a pestle and mortar for this. Right, woman weaving a long carpet on a short loom; the portion already woven is rolled up under her right hand.' 'Lopon Rimpoche (left front) meets the king of the devils (centre), very tall with nine heads. The latter comes to eat Lopon, but the latter performs miracles, at which the Devil King is astonished, and finally is converted to Buddhism.' 'Neame and Chapman and Nepean rode round the bazaar in the evening to take photographs.' (Lhasa Mission Diary, 8 September 1936). See also prints 138-48.[Gelatin silver print, 92x141mm]. 'On table, cup of tea. In black basket in front, meat and vegetables ready cooked; in white basket behind is wheat flour; to the left is the tea-pot on the vessel in which yak dung is kept burning to keep the tea warm. On left foreground the family dog. On right, a large empty basket.' 'On the small table in front of him is a leather bag holding his medicines which are kept in small bags, some of leather some of cloth; between the bag and the table is a cloth of square checks: the leather bag should nbe placed directly on the table, otherwise the potency of the drugs is believed to be lessened. This cloth comes from China. On the cloth is also a horn used to extract blood by sucking. In the wooden pot are some powders.' 'Rechung (blurred figure on left), the chief disciple of Milarepa, comes to nang-sa, now married, to ask for alms. Nang-sa is seated on the ground. She gives him a large amount of fruit, and he gives her religious teaching (chho she-kyi-re). At this time (11th century AD) Buddhism was at a low ebb in Tibet.' 'Round velvet hat. Robe of white and blue stripes, in the blue stripe being also white, red and green. At left side Lepcha knife in sheath of wood on one side only, bound with iron bands across the open half and wooden band, hanging from right shoulder by narrow cotton strap fashioned as are the blue stripes on the robe. This is the national Lepcha dress.' 'She pulls the wheel under the square box covered with Tibetan paintings, the rod attached to the wheel goes throught he box and the cylinder containing the prayers can be seen above the box.' 'Spectators at gun and arrow shooting; Lhalu [Mansion] in background. Stand for target in left foreground suspended from cross-rope between framework.' See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 56-57, '26th Day, The Gallop behind the Fort.' 'The action of the standing debater in moving his arm just over the head of his seated opponent is meant to put the latter to shame, as if to say, 'You are an ignoramus, you know nothing of this matter'. The judge puts his hand to his head in horror at this insult. The series comprises prints 301-308. 'The clothes are entirely those according to Gurkhali custom. The cap, coat and pyjamas are white cotton cloth formerly hand-woven in Nepal, but now (March, 1934) imported from Japan on account of cheapness. This cloth is known in Nepal as khadi, and in India as khaddar. The shoes are of roughly tanned leather, rust-coloured, almost black. The waistband is of finer cotton, also white. Kukri in waistband. He has just come from Nepal in search of work as a labourer.' 'The competitors can be seen coming up in the right background. In the right centre, two attendants bring supplies of fresh scarves. In the left centre a monk official, assisted by a lay official (left), distributes the scarves to the competitors.' 'The event here narrated takes place at Ne-tong, near Tse-tang in the Lho-ka country. The peasant girl (seated) sees the valuable turquoise in Re-chung-nga's (standing next to the right of her) bag (small white cylindrical bag on girl's left). She then feeds Re-chunbg-nga for a year in the hope that he may give her a turquoise. He does not give it to her in that time so she turns him out. The photograph is not very clear.' 'The former has a copper container for the prayers with brass bands, brass cover and brass chain. The knob at the end of the chain is of lead. Handle of wood, rosary of beads of conch shell. The prayer wheel is a very old one.' 'The girl on the right - next to the small boy - has just kicked the shuttle which can just be dimly seen at the right hand bottom corner of the window, crossing to the girl on the left, who is preparing to kick it back again. The shuttle is made of cock's feathers in a base composed of a piece (or pice) of lead of size and shape of a pice bound in soft leather.' 'The man in front is dressed in European clothes which he has picked up cheap in a second-hand clothes shop. He came to Kalimpong two or three years ago and has lived there since. He sells articles of wearing apparel, especially Tibetan garters and Tibetan waistbands, many of these garters and waistbands being woven by his wife. The man behind is a monk who has wandered in from outside; he does not belong to the monastery. Roof of corrugated iron sheeting; under the upper roof (not that of the verandah) is the red band which indicates a sacred building.' 'The Ngak-pa, a layman, is sitting on the left. In front of him is an offering (tor-ma) of barley-flour, further to his left a cup and dish, in which beer and grains of barley are by him offered to the gods. Further to the right, barley-flour and barley-grain on table, round which women sit. The Ngak-pa is causing 'wind-horses' to be born (skyes-pa), and women's ornaments help the birth, so women are preferred to men in this ceremony.' 'The photograph displays two of the tribe exhibiting cobra capellas, or nags, and playing to them upon an instrument made of a gourd of a peculiar shape...The sound is like that of a flageolet...Strange as it may seem, the hooded snakes appear to delight in the sound...' 'The photograph exhibits a family of Hindoo weavers at work...They are preparing the warp, apparently of a turban or narrow scarf, for the loom; and the operation is performed in the open air, in the court-yard of their house, or of a mosque or temple, or anywhere that they have space...' 'The photograph represents a Kumhar or potter at work, with his primitive instrument, the 'potter's wheel', which, and the wares he makes with it, have probably been unchanged since the earliest period of civilized influence in India. Beside him is an earthen pot, unglazed and made of coarse clay, such as are in daily use by millions, identical in form and material with those vessels dug out of cairns and cromlechs, which may be the remains of the most ancient Aryan invaders, or of a tide of invaders beyond the Aryans...Beside the figure on the right hand are a few earthen toys: specimens of those painted elephants, sheep, horses, male and female figures, images of gods and goddesses, small cups and vessels which are used in children's feasts - all rude, and displaying neither any perception of artistic form or execution, but still toys, as precious to the Hindoo, as their equivalents are to English children.' 'The play is Nang-sa, and the incident shown here is the acting of the religious play (cham) at Naini Monastery, where the magistrate (pon-po) of Re-nang sees Nang-sa. The actor under the pole is beating the drum for the religious play.' 'The present photograph has been selected because it shows a group of Nuts, in the act of performance of legerdemain tricks, in which they are very expert...' 'The present photograph shows three members of the Mahsood division of the clan...They are armed with sword and shield, which appears to be the favourite equipment among them...The complete pacification of the frontier tribe, the majority of whom are not British subjects, can only be a work of time.' 'The present plate is a group of three Baruk Khuttuks in their ordinary dress and bearing the customary weapons of their tribe. Two are armed with matchlock guns, both having the two-pronged fork attached to the muzzle, which can be let down to serve as a rest in firing...The kneeling figure on the right hand of the plate has along bow, usually made of bamboo, strengthened in the centre, with the use of which the Khuttuks are reported to be very expert...' 'The trade of dyeing is universal throughout India, and is carried on both by Hindoos and Mahomedans, apart, or in combination, as shown in the photograph. In this picture, the standing figure, who is rubbing the mixed dye stuff through a cloth to strain it, is a Hindoo. The sitting figures - that is, the person who is wringing out a piece of cloth, and he who has a wooden mallet in his hand, beating a cloth, in order to equalize the colours - are Mussulmans.' 'They are going on pilgrimage to Bodh Gaya and to the Yam-bu Cho-ten near Katmandu. They will go by train from Siliguri. The darker man (right) seems to be the servant of the other. 'They have put up prayer flags and burnt incense in the precincts of the monastery and are now turning all the prayer barrels once, after which they will go away, having completed their religious duty.' 'This group consists of a young Dhangee chief, Rajah Krishna, and a relation probably, sitting by him, with four attendants behind, one of whom carries a chowree of yak's tail. The young chief is superbly dressed in cloth of gold, but seems particularly ill at ease in his unaccustomed seat, and he holds his sword upright resting upon his right shoulder. The Official Report gives no clue as to who he is, except that he resides at Belhara, near Saugor, but states that the Dhangees are cultivators, of quiet peaceable habits, similar in all respects to ordinary Hindoos in religion and mode of life...the tribe is numerous about Saugor, where the Dhangees are among the best agriculturists. They are not migratory or unsettled, and bear a good character in all respects. The young rajah represented was a pupil in the Government school at Saugor in 1862, and it may be hoped received a good practical education to fit him for his duties in life.' 'This is a curiosity, being totally unlike what one would expect to see, the Burman not exhibiting much leather in his manfactures, every article being made up of cloth, - saddle, bridle, and all the trappings being of one uniform colour, - chiefly red, claret, or green.' 'This plate represents another man of the Khuttuk Afghans, who is a horseman, equipped after the fashion of the tribe in armour. Over his turban he wears a cap of light steel chain, part of which, thickly quilted with cotton or wool, and fastened across his chest by straps, descends as far as his waist, and, when mounted, protects his back and arms. He has bright steel gauntlets reaching to the elbow, the leather covering for his hands being studded with bosses of steel or brass. His tunic is of quilted cotton, thick enough to turn a sabre cut, and with strong jack boots reaching to the knee, completes the costume. His arms are a light matchlock and sword, and his powder horns and bullet bag hang at his waist on his right side...' 'We met him about ten miles from Ta-shi Lhun-po, when on our way to Gyang-tse. From right to left, mother, small son, the priest, father, daughter. The party carry with them tents, blankets, food supplies, cooking utensils and other necessities of long travel, for they will be several months on the journey, visiting the Yam-bu Cho-ten, near Katmandu, among other places. The small boy is 7 years (English reckoning).' 'Written in large clear letters on red cotton cloth, so that all can read it, and wrapped round a small piece of bamboo, so as to be easily carried.' (?)Padaung dancers. (?Irula) dance in progress. (?Shan) man holding sword. (Not in box). [102x78mm]. [107x74mm]. [107x80mm]. [74x99mm]. [76x72mm]. [79x104mm]. [80x105mm]. [98x73mm]. [99x73mm]. [Albumen print, 102x153mm]. [Albumen print, 159x104mm]. [Albumen print, 160x205mm]. [Albumen print, 184x216mm]. [Albumen print, 185x214mm]. [Albumen print, 241x185mm]. [Albumen print, 242x183mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, circular image, 62x62mm]. [Albumen print]. [Gelatin silver print, 100x147mm]. [Gelatin silver print, 118x165mm]. [Gelatin silver print, 129x81mm]. [Gelatin silver print, 130x80mm]. [Gelatin silver print, 132x77mm]. [Gelatin silver print, 141x194mm]. [Gelatin silver print, 142x114mm]. [Gelatin silver print, 151x103mm]. [Gelatin silver print, 166x115mm]. [Gelatin silver print, 184x124mm]. [Gelatin silver print, 235x294mm]. [Gelatin silver print, 52x77mm]. [Gelatin silver print, 53x77mm]. [Gelatin silver print, 54x79mm]. [Gelatin silver print, 55x80mm]. [Gelatin silver print, 56x80mm]. [Gelatin silver print, 57x79mm]. [Gelatin silver print, 78x86mm]. [Gelatin silver print, 79x53mm]. [Gelatin silver print, 79x56mm]. [Gelatin silver print, 79x56mm]. [Gelatin silver print, 79x57mm]. [Gelatin silver print, 81x138mm]. [Gelatin silver print, 81x54mm]. [Gelatin silver print, 84x59mm]. [Gelatin silver print, 88x59mm]. [Gelatin silver print, 90x128mm]. [Gelatin silver print, 90x138mm]. [Gelatin silver print, 91x141mm]. [Gelatin silver print, 91x93mm]. [Gelatin silver print, 92x141mm]. [Gelatin silver print, 92x141mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print (modern print), 121x70mm]. [Lantern slide, 38x51mm]. [Lantern slide, 45x50mm]. [Lantern slide, 50x70mm (oval)]. [Lantern slide, 50x70mm (oval)]. [Lantern slide, 51x73mm]. [Lantern slide, 52x68mm]. [Lantern slide, 52x69mm]. [Lantern slide, 54x70mm]. [Lantern slide, 58x70mm]. [Lantern slide, 58x70mm]. [Lantern slide, 58x70mm]. [Lantern slide, 64x66mm]. [Lantern slide, 65x56mm]. [Lantern slide, 66x50mm]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm (circular)]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 67x64mm]. [Lantern slide, 67x66mm]. [Lantern slide, 67x66mm]. [Lantern slide, 67x67mm (circular)]. [Lantern slide, 67x67mm (circular)]. [Lantern slide, 67x67mm (circular)]. [Lantern slide, 67x67mm (circular)]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 67x67mm]. [Lantern slide, 68x52mm]. [Lantern slide, 68x69mm]. [Lantern slide, 69x49mm]. [Lantern slide, 69x50mm]. [Lantern slide, 69x63mm]. [Lantern slide, 69x68mm]. [Lantern slide, 69x69mm]. [Lantern slide, 69x69mm]. [Lantern slide, 69x71mm]. [Lantern slide, 70x45mm]. [Lantern slide, 70x49mm]. [Lantern slide, 70x50mm (oval)]. [Lantern slide, 70x50mm (oval)]. [Lantern slide, 70x52mm]. [Lantern slide, 70x55mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x59mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x70mm]. [Lantern slide, 70x73mm]. [Lantern slide, 71x52mm]. [Lantern slide, 71x58mm]. [Lantern slide, 72x49mm]. [Lantern slide, 72x49mm]. [Lantern slide, 72x50mm]. [Lantern slide, 72x54mm]. [Lantern slide, 72x54mm]. [Lantern slide, 72x59mm]. [Lantern slide, 72x61mm]. [Lantern slide, 72x62mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x73mm]. [Lantern slide, 73x52mm]. [Lantern slide, 73x54mm]. [Lantern slide, 73x54mm]. [Lantern slide, 73x54mm]. [Lantern slide, 73x54mm]. [Lantern slide, 73x57mm]. [Lantern slide, 73x61mm (oval)]. [Lantern slide, 73x72mm]. [Lantern slide, 73x74mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x75mm]. [Lantern slide, 75x74mm]. [Lantern slide, 75x74mm]. [Lantern slide, 75x74mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x75mm]. [Lantern slide, 75x76mm]. [Printing-out paper, 107x82mm]. [Printing-out paper, 108x147mm]. [Printing-out paper, 115x65mm]. [Printing-out paper, 54x78mm]. [Printing-out paper, 63x32mm]. [Red-toned print, 313x234mm]. [Sepi-'toned gelatin silver print,77x104mm]. [Sepia-tinted gelatin silver print, 76x99mm] [Sepia-toned gelatin silver print, 100x75mm]. [Sepia-toned gelatin silver print, 100x75mm] [Sepia-toned gelatin silver print, 100x76mm]. [Sepia-toned gelatin silver print, 100x76mm]. [Sepia-toned gelatin silver print, 100x76mm] [Sepia-toned gelatin silver print, 100x77mm]. [Sepia-toned gelatin silver print, 100x77mm] [Sepia-toned gelatin silver print, 101x73mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x76mm] [Sepia-toned gelatin silver print, 101x77mm]. [Sepia-toned gelatin silver print, 101x77mm]. [Sepia-toned gelatin silver print, 101x77mm] [Sepia-toned gelatin silver print, 101x77mm] [Sepia-toned gelatin silver print, 101x77mm] [Sepia-toned gelatin silver print, 102x73mm]. [Sepia-toned gelatin silver print, 102x74mm]. [Sepia-toned gelatin silver print, 102x74mm]. [Sepia-toned gelatin silver print, 102x74mm]. [Sepia-toned gelatin silver print, 102x74mm] [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x76mm]. [Sepia-toned gelatin silver print, 102x76mm]. [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x77mm]. [Sepia-toned gelatin silver print, 102x77mm] [Sepia-toned gelatin silver print,102x77mm] [Sepia-toned gelatin silver print, 102x77mm] [Sepia-toned gelatin silver print, 102x78mm] [Sepia-toned gelatin silver print, 102x78mm] [Sepia-toned gelatin silver print, 103x68mm]. [Sepia-toned gelatin silver print, 103x73mm]. [Sepia-toned gelatin silver print, 103x74mm] [Sepia-toned gelatin silver print, 103x75mm]. [SEpia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm] [Sepia-toned gelatin silver print, 103x75mm] [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 104x74mm]. [Sepia-toned gelatin silver print, 104x75mm]. [Sepia-toned gelatin silver print, 104x75mm]. [Sepia-toned gelatin silver print, 104x75mm]. [Sepia-toned gelatin silver print, 104x76mm]. [Sepia-toned gelatin silver print, 104x76mm]. [Sepia-toned gelatin silver print, 104x76mm]. [Sepia-toned gelatin silver print, 104x76mm] [Sepia-toned gelatin silver print, 104x76mm] [Sepia toned gelatin silver print, 104x76mm] [Sepia-toned gelatin silver print, 104x77mm]. [Sepia-toned gelatin silver print, 104x77mm]. [Sepia-toned gelatin silver print, 104x77mm]. [Sepia-toned gelatin silver print, 104x77mm]. [Sepia-toned gelatin silver print, 104x77mm] [Sepia-toned gelatin silver print, 104x78mm] [Sepia-toned gelatin silver print, 105x76mm]. [Sepia-toned gelatin silver print, 12x76mm]. [Sepia-toned gelatin silver print, 73x101mm]. [Sepia-toned gelatin silver print, 74x100mm]. [Sepia-toned gelatin silver print, 74x101mm]. [Sepia-toned gelatin silver print, 74x101mm]. [Sepia-toned gelatin silver print, 75x100mm]. [Sepia-toned gelatin silver print, 75x101mm]. [Sepia-toned gelatin silver print, 75x101mm] [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x102mm] [Sepia-toned gelatin silver print, 75x102mm] [Sepia-toned gelatin silver print, 75x102mm] [Sepia-toned gelatin silver print, 75x103mm]. [Sepia-toned gelatin silver print, 75x103mm]. [Sepia-toned gelatin silver print, 75x103mm]. [Sepia-toned gelatin silver print, 75x103mm]. [Sepia-toned gelatin silver print, 75x103mm]. [Sepia-toned gelatin silver print, 75x104mm]. [Sepia-toned gelatin silver print, 75x104mm]. [Sepia-toned gelatin silver print, 76x100mm]. [Sepia-toned gelatin silver print,76x100mm] [Sepia-toned gelatin silver print, 76x101mm]. [Sepia-toned gelatin silver print, 76x101mm]. [Sepia-toned gelatin silver print, 76x101mm] [Sepia-toned gelatin silver print, 76x101mm] [Sepia-toned gelatin silver print, 76x102mm]. [Sepia-toned gelatin silver print, 76x102mm]. [Sepia-toned gelatin silver print, 76x102mm] [Sepia-toned gelatin silver print, 76x102mm] [Sepia-toned gelatin silver print, 76x102mm] [Sepia-toned gelatin silver print, 76x102mm] [Sepia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x103mm]. [SEpia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x103mm] [Sepia-toned gelatin silver print, 76x103mm] [Sepia-toned gelatin silver print, 76x103mm] [Sepia-toned gelatin silver print, 76x104mm]. [Sepia-toned gelatin silver print, 76x104mm]. [Sepia-toned gelatin silver print, 76x104mm]. [Sepia-toned gelatin silver print, 76x104mm] [Sepia-toned gelatin silver print, 76x78mm]. [Sepia-toned gelatin silver print, 77x100mm]. [Sepia-toned gelatin silver print, 77x100mm]. [Sepia-toned gelatin silver print, 77x101mm] [Sepia-toned gelatin silver print, 77x102] [Sepia-toned gelatin silver print, 77x102mm] [Sepia-toned gelatin silver print, 77x103]. [Sepia-toned gelatin silver print, 77x103mm]. [Sepia-toned gelatin silver print, 77x103mm]. [Sepia-toned gelatin silver print, 77x103mm]. [Sepia-toned gelatin silver print, 77x103mm] [Sepia-toned gelatin silver print, 77x103mm] [Sepia-toned gelatin silver print, 77x103mm] [Sepia-toned gelatin silver print, 77x104mm]. [Sepia-toned gelatin silver print, 77x114mm]. [Sepia-toned gelatin silver print, 77x99mm]. [Sepia-toned gelatin silver print, 78x103mm] [Sepia-toned gelatin silver print, 78x103mm] [Sepia-toned gelatin silver print, 79x90mm]. [Sepia-toned gelatin silver print, 89x71mm] [Sepia-toned gelatin silver print, 92x64mm] [Sepia-toned gelatin silver print, 94x76mm] [Sepia-toned gelatin silver print, 95x74mm] [Sepia-toned gelatin silver print, 95x76mm] [Sepia-toned gelatin silver print, 98x70mm] [Sepia-toned gelatin silver print, 98x76mm]. [Sepia-toned gelatin silver print, 99x77mm] [Sepia-toned gelatin silver prints, 77x100mm] [Sepia-toned silver print, 77x68mm] [Silver printing-out paper, 98x120mm]. 16 prints, all uncaptioned apart from print 180, titled 'Naga dance', showing groups of villagers. These appear to be part of the series at the beginning of the file, taken at Sir Harcourt Butler's durbar at Maingkwan, in which he negotiated the liberation of slaves from the Kachin headmen of the Hukawng Valley district. See note at print 2.[Gelatin silver prints]. Aboriginal groups (Bhils?), posed with bows and arrows, and gathered round a gramophone.[Gelatin silver prints]. Abor man squatting on riverbank.[Gelatin silver print, 107x93mm]. Abor men, presumably porters, gathered round expedition baggage. A caption on the print verso probably reads: 'Coolie women'. A clearer study of Wa men and women. A closer view of the tent and family group seen in print 117. (Ancient Persis Map C3). A couple with bundles on their backs including wood. Acrobats posed in the form of a human pyramid in front of the theatre. Actors beneath awning grouped round incense burner: '...The history of Lo-pon Rimpoche. The latter goes to the country of the devils with his mother. The mother is seen here half hidden by the incense smoke. She and the two fairies (kan-dro-ma) in the foreground are performing a religious service before departing for the devil country. Above and to the left of the incense smoke is a torma of barley dough and butter.' Actors perfomring on stage, beneath awning. A dark print. A differently composed version of print 6, cropped in to the two central figures.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 235x293mm]. A family of four, three are standing and the woman in the centre is carrying a pot. A food stall. Afridi man posed on hillside, holding a jezail and a short curved sword. Afridi man seated behind rocks on a hillside, taking aim with a jezail. A full-length studio portrait of a Babu, posed sitting at a table. The same studio as seen in prints 1 and 6. Agarias traditionally work in iron (a furnace is in the shed in the background) and Dhanwars are a forest tribe in Bilaspur District. Aged man seated on the ground playing the instrument. A good clear view of a taboot or tazia, the model of the tomb of Husain, processed during the Muharram Festival. Ainalu group posed for photographer. (Ancient Persis Map C3). Ainalu tent, with family group seated at entrance. (Ancient Persis, p. 165, Map C3). A khitmagar is a table servant, a hamal a porter or palanquin bearer. A larger group of 'caterpillar' figures, with spectators in the background. Caption on print reads 'Lawksawk Festival', but this conflicts with caption in Grose's notebook, as given above. A less clear photograph than the preceding print. Possibly photographed by Baker & Burke during Lord Mayo's visit to the North-West Frontier. Almost identical to preceding print, figures posed slightly differently. Almost identical to print 30. Ink stain on print surface.[Sepia-toned bromide print, 255x305mm]. Although unnumbered this photograph corresponds to No 1106 in the Bourne & Shepherd catalogue: 'Moguls (Delhi)'. The same group appears as photograph No. 184 in vol. IV of The People of India (1869). Although unnumbered this photograph corresponds to No 1130 in the Bourne & Shepherd catalogue: 'Native Servants (Ayah and Boy)'. Although unnumbered this photograph corresponds to No 1131 in the Bourne & Shepherd catalogue: 'Native Servants. Khansamah and Khidmutgar. A man and two women making shoes. 'Chuckler' is a South Indian term. A duplicate print appears at Photo 447/3 (55), in an album of photographs mainly attributable to Hooper. A man wearing a large sun-hat and carrying bananas suspended from a pole. A more distant view of the award ceremony described in print 233. A more distant view of the boat builder shaping the underside of the canoe with an adze-like tool. Brahmaputra River in background. A more distant view that print 411. An attempt by the photographer to create a stereotyped image of India, with a smiling girl collecting water from a stream in a rural idyll. Andamanese group posed with three European officials in a compound in front of a thatch hut (possibly the Andamanese Home at Port Blair?).[(?)Collodion printing-out paper, 156x109mm]. Andamanese hunting group posed with their dogs beneath trees in front of a wooden fence.[(?)Collodion printing-out paper, 155x108mm]. An Indian family group including young children. An indistinct photograph. A note by A.G. McCrae on the verso reads: 'The significance of this & the other photo of country people [Print 18], is that their appearance was identical 50 years later and is also no doubt today'. Another copy at Mss Eur E 254/45 (51). Another copy at print 391. Another copy at print 78.[Gelatin silver print, 133x82mm]. Another copy of print 23.[Gelatin silver print (modern print), 90x140mm]. Another portrait of the girl seen in prints 1-2.[Gelatin silver print, 54x80mm]. Another view of the group seen in print 511. Negative slightly fogged. Another view of the man seen in print 22, here photographed in the act of hammering a skewer into the top of his skull. The original skewer piercing his cheeks is still in placed, the longer protruding end supported by the two men standing in the background.Original whole-plate glass negative at Mss Eur F222/47. There is also a further similar negative, for which there appears to be no print.[Sepia-toned bromide print, 212x241mm]. Another view of the man seen seen in prints 22-23, posed with skewers in neck and head.Original whole-plate glass negative at Mss Eur F222/47. There are also two further similar negatives, for there appears to be no print exisiting.[Sepia-toned bromide print, 228x236mm]. A one-horse two-wheeled carriage with a rough canopy. Arab woman posed with water jar on head, with two other women in background. Poor quality print.[Albumen print, 142x219mm]. A rather dark print. Group of twelve men, with Stein's dog Dash. Stein's negative notebook further identifies: Shasuf Beg, guide (standing on left); Wakhis from Ashkuman; Akhin Bai (sitting). Archers gathered in front of Paro Dzong. Armed group of five Waziri Maliks, on horseback. Arrangement of artefacts, including nets and basketware.[Albumen print]. Arrangement of artefacts, including nets and basketware.[Varnished albumen print]. Arrangement of drum and horns.[Albumen print]. Arrangement of drums and horns.[Albumen print]. A second copy of no. 157. Duplicate negative only, no print. A second portrait of the Buddhist abbot seen in print 23, this time with a servant standing behind him holding an umbrella. The box on the abbot's lap possibly contains pan. As for print 34. As for print 35. This shows the same dancer, but in a different position. A small two-wheeled cart pulled by two bullocks. A somewhat blurred and distant view. A South Indian barber shaving the head of a boy. Possibly a Hooper photograph; similarities with prints in Photo 447/3. Assembly of chiefs. A similar view, but in landscape format, is reproduced in G.E. Mitton, 'Scott of the Shan Hills' (London, 1936), with the caption, 'The meeting of the Pet Ken (Wa chiefs). The interpreter is reading the letter of appointment. Note the singular old man with the goatee just behind him. The canopy at the back is for an open air bath.' The meeting with the chiefs, which took place on Palm Sunday 1897, is described on p. 246. See also Photo 92/10 (73).[Albumen print, 195x243mm]. A staged tableau showing a group of youths attacking crocodiles with sticks and a double-barrelled shotgun on the bank of a river. The animals are clearly stuffed specimens.[Albumen prints, 264x208mm]. At Kalimpong. Audience in foreground (backs to camera), with line of puppets on the platform beyond and the musicians between the two. A woman and child with various baskets. A woman and girl selling fruit at the roadside. Baby carried in basket on woman's back. Bakers at work in front of the verandah of a house, the figure on the right rolling out dough to make chapattis. Duplicate at Photo 335/2 (59). Band of Nagas displaying arms and armour. Bandy is a South Indian term for a bullock cart. Possibly a Nicholas & Co photograph. Bangle makers at work on the verandah in front of their shop. Bangle seller with metal trunk containing his wares. Banya or bunnea (petty trader) seated in the doorway of his shop, his scales in front of him. The photograph is used as illustration no. 184 in vol. IV of The People of India (1869). Duplicate at Photo 460 (52). Barber shaving a customer in front of a house. Barber shaving head of customer.[Gelatin silver print (modern print), 82x134mm]. Barber shaving the head of a customer, who is seated on a charpoy. 'The mode of operation is well shown in the plate: the man being shaved sits on his bedstead, while the barber stands before him, manipulates his skull or his chin with plain warm soft water (soap is never used) till the hair or stubble is quite soft; the razor, which is a peculiarly shaped instrument, not unlike a small hatchet, and very sharp, is then applied, and the result is a very perfect one...' Bazaar scene with kebab seller marked by a cross. Bearded ascetic seated cross-legged in a small makeshift tent. Bedouin group, with horse.[Gelatin silver print, 133x82mm]. Bhil man in leg irons under police guard.[Albumen print, 100x147mm]. Bhistis collecting water at a spring. The original caption gives the location as Jakki, presumably this is Jakko at Simla. Bhisti with a mule. Bhutanese group standing in a line for the photographer. Bhutia family group. Bhutia street trader selling incense and joss sticks. Blurred photograph of men sitting on a wall. Blurred print. Blurred snapshot. Blurred view, probably taken in the bazaar. Boat being carried to water's edge. Boat builders at work. Boatmaker at work on the banks of the Brahmaputra. Boats gathered at the lakeside. Boys playing football, watched by a group of monks. Boy with bulbul birds perched on his hand. Breakfast seller and customer. Brickmakers at work using wooden moulds. Bricks being laid out to dry in the sun.[Silver printing-out paper, 100x75mm]. Broom seller carrying wares on his head. Buddhist monks kneeling at prayer before an image of the Buddha. Bullock cart loaded with firewood. Bullock cart with carved wooden seating compartment. Bullock-drawn cart. Burmese group on riverbank. Poor quality print.[Gelatin silver print, 78x43mm]. Burmese group outside a pagoda. Possibly a Beato view. Burmese group preparing for cremation in a jungle clearing.[100x76mm]. Burmese man seated in an attitude of prayer before a small shrine containing a Buddha image.[74x100mm]. Burmese man selling food. Burmese men and women at the water's edge. Burmese monk flanked by four pupils. Burmese monk preaching to a group of youths and children. Burmese puppets on a covered platform. For a view showing a puppet show perfomance on a similar stage, see Photo 88/1 (42).[Gelatin silver print, 103x75mm]. Burmese youth having his arm tattooed. He lies on the ground, his arm resting on a cushion and held down by the feet of the seated tattooer. Cabinet-sized studio portrait of two female dancers and male musicians. Camel caravan. Camp scene. See notes with Print 2. Canoe driven by leg rowers approaching camera head-on, with thatched houses on the bank beyond.[Gelatin silver print, 80x53mm]. Caption continues: ''L�pi-da' is really the decayed wood of the dipterocarpus loevis impregnated with resinous oil, and lumps of this decayed wood are used as torches for dances, being dotted about on the ground.' Caption continues: 'All their belongings are then either separately wrapped in small parcels, or else left loose, and both small parcels and loose goods are placed on a layer of Licuala leaves, 'K�pa-da', on the ground. The whole is then tightly bound together with 'B�tmo-da' commencing at one end of the leaves. The stalk ends are all placed one way, and remain a little open.' Caption continues: 'Coils of thin bamboo or cane are worn round the waist'. Group portrait of women arranged in front of a thatched house. Poor quality print. See Scott's Burma: A handbook... for an acount of the various Riang clans. Caption continues: 'In the background the Khimbagan Monastery. Captain Temple has the two smallest children on his knees. The man standing up is the teacher of the children: the other men are the band, and the women seated are the leaders of the children's song'. Caption continues: 'One woman in each is standing up posturing after the fashion of these people. The persons in the bow and stern of each boat are men according to invariable custom.' Caption continues: 'The dance is the Burmese ballet and the girls are all of good families. In the background is the private palace of Queen Sup'ayalat in the Palace grounds. The man kneeling is the teacher and the women are the leaders of the song.' The caption goes on to give details of costume. Duplicate, in better condition, at Photo 687 (58). Caption continues: 'The girls in front are in rough dancing costume, those behind in their every day costume, which is that ordinarily worn by Burmans. The men are the accompanying musicians. In the background is a Ponna weaver's house...These people had never been photographed previously'. Caption continues: 'The girls were all daughters of the leading men of their race in Mandalay and had never danced in public before.The dance was that performed by these people at their religious festivals in their mandats or temples. The girls are Hindus and represent the Gopinis dancing round Krishna. In the background is Quen Sup'ayalat's private palace.' The caption goes on to give details of the dancers' costumes. Duplicate, in better condition, at Photo 687 (57). Caption continues: 'The woman prominently in front is also a Riang, but belongs to the Yang Sek tribe who dress differently, they wear a sort of jumper or smock with red and white stripes, the stripes coming from each side over their shoulder'. Groupportrait in front of a thatched house. See also print 36. Caption continues: 'The Yao women wear 'an extraordinary bamboo platform of leather, covered with red cloth, supported by struts at a height of two feet above the head. The hair is carried up in a column to this, and fastened down with gum or lai on the flat piece of leather. The misery of learning to sleep with this roof projecting above the head, can only be equalled by that of the Padaungs with their foot-wide brass collars' ('Scott of the Shan Hills'). Two women wearing such headdresses are in the centre of this group. These women are also seen in Photo 92/8 (24), where the location is identified as Mong Hsing. Caption continues: 'They consist of Burmese and Manipuris (Kath�s) of the Eastern Town (Ash� Byin) of the Mandalay Cantonment all of good families. The smallest in front were aged 5 years and 3 months, the biggest behind were aged 11 years. The dance is the Burmese ballet (han pw� or yen pw�). In the background is part of the Khimbagan Monastery.' The caption gives further details of the silk costumes worn by the dancers. Duplicate, in better condition, at Photo 687 (59). Caption continues: 'They tattoo two black squares beneath their chins and it is a joke that whereever there is a smooth sheet of water there will be found a Loilong man admiring his chin'. Group portrait standing in front of a thatched house. Caption note on reverse of print continues: 'The building is part of the Magistrate's court, crowded with litigants and sight-seers; on the wall to the left may be noticed the remains of one of the dragon frescoes with which the Chinese in pre-Republican days adorned their public buildings.' Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 204).[Gelatin silver print, mounted on card, 284x210mm]. Caption on reverse. Caption on reverse reads: 'The Sarangzais are a Pathan tribe living in & around Ziarat a small hill station some 60 miles from Quetta'. Caption on reverse reads: 'The Tarins are a small tribe of Afghans who for many years have made their home in Baluchistan'. Caravan of ponies laden with bales of wool on the road at Dochen, with Dochen Tso lake in the background. Caravan resting at an unidentified location. Carte-de-visite portrait of porters. See note at Photo 54 (24), a larger format photograph of this group. Carte de visite sized print of a bheestie or water carrier emptying his leather skin of water into a large bowl. Duplicate of Photo 127 (94). Carte de visite sized print of a carpenter. Duplicate of Photo 127 (79). Carte de visite sized print of four bearers carrying a palki in which a European is seated. Duplicate of Photo 127 (78). Carte-de-visite sized studio portrait of a water-carrier or bhisti, carrying a mussuck on his back and holding a leather bucket. Carte-de-visite sized studio portrait of two snake charmers. Carte-de-visite sized studio portrait of two tailors seated at their work. Carte-de-visite size studio portrait of a seated Indian woman. Carte-de-visite study of a group of boatmen, seated on the ground. Caste/occupation unknown. Catamaran and boatmen on the beach at Madras. The catarmarans accompanied the massulah boatmen to bring passengers ashore. Photograph unsigned but probably by Nicholas & Co. Central portion of print 53, enlarged.[Gelatin silver print, 82x131mm]. Ceremony on the 15th day of the fifth month. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 94-95. Child in a Hong Kong street, carrying goods on a yoke. Chinese children playing an unidentidied game in the street. Chinese coolie, posed on the road with his load, probably in Yunnan. Chinese woman in street with food container. Circular image. Full-length seated portrait of four men, 'Lingaith Banias, so called from having taken a vow to wear the ling of Mahadeo always round their necks... Circular print. Circular thatched open-sided building, seen from above. Pl. lxxx of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1169). Class in progress in a Burmese monastery. Two older monks, seated on a stone platform, read from palm leaf books while their pupils, young novitiates, are seated below them on a mat. A servant girl standing in the background fans the monks. Close head-and-shoulders profile of the man seen in prints 22-24.[Sepia-toned bromide print, 239x308mm]. Closer view from the side. Closer view of a posed group of soldiers. Closer view of family group. Closer view of Ladakhi group with their animals, but a faded print. Closer view of lines of praying figures. Closer view of Nagas at work building a wooden footbridge. Closer view of the figures in print 6.[Gelatin silver print, 124x117mm]. Closer view of the main pyre seen in the preceding print, here on fire. The flames and smoke have been added by later retouching. Closer view of the man seen in print 415. Closer view of the priest and two fakirs, with tomb in background.[Silver printing-out paper, 92x69mm]. Closer view of the pyre seen in print 92.[110x151mm]. Closer view of three of the craftsmen seen in print 1.[Gelatin silver print, 123x116mm]. Close-up of the chest of a male of the South Andaman group of tribes, showing the dense web of scar tissue decoration. Duplicate of Photo 188/7 (2). Close-up of torso, front view. Close-up profile head-and-shoulders view of man, right side.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 248x303mm]. Close-up view showing method of opening shell. Close view looking down onto the top of the skull of the man seen in prints 22-26.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 255x307mm]. Close view of a carved wood necklace, arranged on a textile background decorated with bird and flower motifs. Similar in format to prints 68-69 and possibly also photographed at Wuntho. Close view of a chinlon player in action.[97x121mm]. Close view of a mound of stones: 'They worship also a rough round stone under the name of Hiriadeva, setting it up either in a cave or in a circle of stones like the so-called 'Kurumba Kovil' of the Badagas, which the latter would seem to have borrowed from the Kurumbas.' (Breeks, p. 53).[Albumen print]. Close view of carved wood stringer with floral designs. Shown at the Paris Exhibition of 1900. Illustrated in Benjamin J. Rose, 'Paris Exhibition, 1900. Report on the Indian Section' (London, 1901), illustration section between pages 34-35.[Albumen print, blind stamped 'P. Klier Rangoon', 201x283mm]. Close view of craftsman at work.[Gelatin silver print, 115x116mm]. Close view of cromlechs, with rule to indicate scale.[Albumen print]. Close view of crude wall paintings.[Albumen print]. Close view of dancers, with spectators on hillside behind. Close view of group of doctor's implements, identified in numbered key as follows: 5, cauterising iron, used with 1, to prevent burn spreading; 2, stone containing medicine to be applied to the place after cauterising; 3, copper vessel; 4, horn used by doctore for sucking blood, etc., from sore.' Close view of head of buffalo sacriced to propitiate village goddess during a malaria epidemic. Stereoscopic print.[Gelatin silver print, 155x76mm]. Close view of head of smiling man. Close view of inserted skewer.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 246x308mm]. Close view of left side of neck, showing wounds.[Silver printing-out paper, 72x96mm]. Close view of man with skewer through neck (similar to print 21, but a different man).Whole-plate glass copy negative at Mss Eur F222/47.[Sepia-toned bromide print, 203x286mm]. Close view of masked and costumed dancer. Close view of masked dancer. Close view of masked dancer performing. Close view of musicians, seated on ground. Close view of one boat, with rower seated at the stern. Close view of parcel of fruit. Close view of plough drawn by a pair of yaks. Close view of rath. Close view of sacrificed buffalo head and other offerings. Stereoscopic print, somewhat faded.[Gelatin silver print, 156x75mm]. Close view of the disposal area, which in this case consists of 'a flattened piece of ground, somewhat larger than a man's body, floored with slabs of slate. A small slab stood vertically in the ground; to it the dead monk's head was secured, while pieces of the flesh were chopped of the corpse and given to the birds' (Bell, The People of Tibet, p. 290 and illustration). Trayerpa is some sixteen miles from Lhasa. Close view of the two women, from the side. Close view of three carved wood balusters. Shown at the Paris Exhibition of 1900. Illustrated in Benjamin J. Rose, 'Paris Exhibition, 1900. Report on the Indian Section' (London, 1901), illustration section between pages 34-35.[Alvumen print, blid-stamped 'P. Klier Rangoon', 210x285mm]. Close view of three of the Tong-den cutting up a corpse preparatory to feeding the pieces to the vultures. Close view of two masked figures, seated. Close view of wounds in rights side of neck.[Silver printing-out paper, 73x96mm]. Coffin resting on raised supports beneath a thatched roof.[Gelatin silver print, 81x131mm]. Collection of skulls on posts. A somewhat indistinct print.[Gelatin silver print, 135x80mm]. Collection of temple masks of beaten metal. Collotype postcard. A studio portrait of two beggars. Coloured half-tone reproduction. Coloured half-tone reproduction of a man. Coloured half-tone reproduction of a woman reclining on a chaise longue. Coloured postcard of a Shan man displaying his tattoes. Coloured postcard showing a man having his arm tattooed. Coloured postcard showing a man having his arm tattooed. This is the same scene depicted in Photo 904 (2) but with different colouring. Colour half-tone reproduction. Commercially produced photograph.[Silver printing-out paper, 177x115mm]. Commercial study of a girl seated in a wooden boat (?possibly on the Dal Lake).[Silver printing-out paper, 109x151mm]. Continuation from print 116. Figures blurred.[Silver printing-out paper, 121x96mm]. Continuation of dance seen in prints 24-5. Contortionist demonstrating position. Convict in chains standing among street traders. Convict in leg irons seated at the door of his cell. Copper workers seated outside their shops in the bazaar. Copy of a hand-coloured photograph. Copy photograph, comprising seven separate images (8-14). Central photograph of chess players by Shepherd and Robertson. Other, smaller images credited to J.C.A. Dannenberg and Benjamin Simpson.[Albumen print, hand-coloured, 208x262mm] Copy photograph comprising seven separate images (15-21), illustrating various styles of cotton dress. The central image in the montage is by Shepherd & Robertson. Other photographs are credited to R.H. De Montmorancy and Benjamin Simpson. Several of the figures are from watercolours rather than photographs.[Albumen print, hand-coloured, 208x275mm]. Copy print, comprising seven separate images (1-7), illustrating various types of turban. The central photograph is by Shepherd & Robertson. The surrounding head-and-shoulders portraits are credited to Benjamin Simpson, J.C.A. Dannenberg and others unknown.[Hand-coloured albumen print, 207x263mm]. Copy print. Bride dressed in her finery. Copy print. Full-length portrait, holding a mirror. Copy print. Full-length portrait of official. Copy print. Half-length portrait of a woman seated with a cjild on her lap. The Khandesh district covers the modern districts of Dhule and Jalgaon in northern Maharashtra. Copy print. Head and shoulders portrait. Copy print. Seated portrait. Copy print. Seated portrait of the two women. Copy print. Seated studio portrait. Copy print comprising eight separate images (35-42). The bottom three images are credited to J.C.A. Dannenberg, the top right (no. 37) to William Johnson. The remaining four prints, which are uncredited, are by James Waterhouse, and show the Begum of Bhopal and other members of her court in various costumes.[Albumen print, hand-coloured, 207x263mm]. Copy print comprising four separate images (22-25), two of which are from photographs (uncredited), two from watercolours by E. Bergerhaus.[Albumen print, hand-coloured, 204x278mm]. Copy print comprising nine separate images (26-34), credited to the following photographers or artists: William Johnson, Lieutenant H.C.B. Tanner, Lieutenant J. Macdonald. [Albumen print, hand-coloured, 207x263mm]. Copy print comprising seven separate images (51-57). The central print is by Shepherd & Robertson; three others are credited to Lieutenant H.C.B. Tanner.[Albumen print, hand-coloured, 208x263mm]. Corpse in the process of being cut up, with two more (one still wrapped) awaiting attention. This appears to be the same occasion as depicted in print 147, taken a little further on in the proceedings. Costumed dancer performing. Couple standing at roadside. A very faded snapshot.[Silver printing-out paper, 80x105mm]. Cows and attendants in courtyard. See note at print 163.[77x57mm]. Cromlech group beneath tree.[Albumen print]. Cromlech in clearing beneath tree.[Albumen print]. Dafla man armed with sword. Dance in progress, with drummer in foreground. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 309, with caption note: 'A K�kawngdu drum dance: Burma. The man in front of the tom-tom strikes it to a measure. The man on the left of him ducks through between beats. Success means a beaker of spirit at the cost of the striker. Failure, in addition to the clout, means that he has to stand the drink. The K�kawngdu occupy a tract of 150 square miles and are excellent agriculturalists (see text, page 317). Dance in progress. As the caption implies, a very blurred photograph. Dance in progress. Dance in progress. Dance or pwe in progress in Burmese village, watched by European spectators. Dancers and musicians, continuation from print 115.[Silver printing-out paper, 121x97mm]. Dancers and musicians. Dancers and musicians performing. Dancers gathered in a circle in front of log houses.[Albumen print, 190x129mm]. Dancers grouped in a circle, with houses behind. Stereoscopic view. Dancers in caterpillar costumes. Dancers in elaborate bird costumes. Dancers performing. Somewhat faded. Dancers performing in courtyard. Dancers performing Dancer with a tambourine. Dancing group with musicians, performing in front of an unidentified European building.[Albumen print, 135x96mm]. Dasahara festival? Detail of a carved wooden headpiece depicting figures and animals. Devotees preparing for self-mutilation rites.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 222x212mm]. Dhobi scrubbing a garment on a rock beside a river. Die cutter at work, with his wares spread out in front of him. Precise location unidentified. Duplicate negative, no print. Distant and not very distinct view. Distant view. Distant view of a camp. Distant view of audience watching dancers performing at the Gilgit Military Sports. Taken on the same occasion as print 35.[Silver printing-out paper, 142x83mm]. Distant view of group of horsemen: see also prints 328-329. Distant view of group of Ladakhis with their animals in the desert. Distant view of nomadic group with loaded donkeys. (Ancient Persis Map C3). Doctor examining the arm of a youth. Doris Skrine handing out food to a group of Kirghiz women seated on the ground round blankets laid out with various foodstuffs.Signed 'S.P.S. July '23' on print.[Sepia toned gelatin silver print, mounted on card, 286x207mm]. Double exposure. Drama in progress in stone courtyard, with spectators in background. Index refers to Bell's diary entry for August 1921. See also print 153. Dramatic performance in the Deyang Shar, the great eastern courtyard of the Potala: 'The Mongolian giant...emblematic of strength, prosperity and long life, with his children, Indian, Brahmins and skeletons who guard cemeteries. In the top verandah is the Dalai Lama, below him the Shappes.' The Tse Gutor, 'a solemn performance of cham, Tantric dances, to purge the accumulated sins and mischances of the past and to clear the way for the year to come,' is explained in some detail in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 116-123, '29th Day: The Votive Offering of the Twenty-Ninth Day.' Drawing of an ayah and boy. Dugouts moored beside the Brahmaputra. Negative marked up for cropping. Original and duplicate negatives only, no print. Dupe film negative from original nitrate negative now destroyed. Head and shoulders portrait of the youth seen in 187, in profile. Dupe film negative from original nitrate negative now destroyed. Dupe film negative from original nitrate negative now destroyed. Dupe film negative from original nitrate negative now destroyed. Duplicate (in better condition) at Photo 556/3 (142). Duplicate (in better condition) of Mss Eur F157/480 (158). Duplicate at photo 10/13 (83). Duplicate at Photo 364/1 (38). Portrait of a Balti man standing with a gun. This is Zetland's Balti hunting guide Moyhut, from the village of Doko. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 55. Duplicate at Photo 513/4 (18). Duplicate at Photo 92/8 (27). Duplicate at Photo 92/8 (38). Duplicate at print 126. Duplicate at print 32. Duplicate at print 75. Duplicate at print 84. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative only, no print. Duplicate of Photo 1038/1 (121).[Gelatin silver print, 149x204mm]. Duplicate of Photo 59/5 (175). Note on reverse of print reads: 'Mohnyin - a rising place. In valley here. Group in foreground are Kachins'. Duplicate of Photo 639/4 (18). Duplicate of Photo 972/1 (1). Duplicate of Photo 972/1 (10). Duplicate of Photo 972/1 (11). Duplicate of Photo 972/1 (12). Duplicate of Photo 972/1 (13). Duplicate of Photo 972/1 (14). Duplicate of Photo 972/1 (15). 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Duplicate of Photo 972/4 (194). Duplicate of Photo 972/4 (195). Duplicate of Photo 972/4 (196). Duplicate of Photo 972/4 (197), showing Mirza Illahe Baksh and family. Duplicate of Photo 972/4 (198). For other copies of this photograph (later printings, with the background whited out, see APAC Photo 15/10(49) and Photo 28/2(38). Duplicate of Photo 972/4 (199). Duplicate of Photo 972/4 (200). Duplicate of Photo 972/4 (201). Duplicate of Photo 972/4 (202). Duplicate of Photo 972/4 (203). Duplicate of Photo 972/4 (204). Duplicate of Photo 972/4 (205). Duplicate of Photo 972/4 (206). Duplicate of Photo 972/4 (207). Duplicate of Photo 972/4 (208). Duplicate of Photo 972/4 (209). Duplicate of Photo 972/4 (210). Duplicate of Photo 972/4 (211). Duplicate of Photo 972/4 (212). Duplicate of Photo 972/4 (213). Duplicate of Photo 972/4 (214). Duplicate of Photo 972/4 (215). Duplicate of Photo 972/4 (216). Duplicate of Photo 972/4 (217). Duplicate of Photo 972/4 (218). 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Duplicate of Photo 972/7 (368). Duplicate of Photo 972/7 (369). Duplicate of Photo 972/7 (370). Duplicate of Photo 972/7 (371). Duplicate of Photo 972/7 (372). Duplicate of Photo 972/7 (373). Duplicate of Photo 972/7 (374). Duplicate of Photo 972/7 (375). Duplicate of Photo 972/7 (376). Duplicate of Photo 972/7 (377). Duplicate of Photo 972/7 (378). Duplicate of Photo 972/7 (379). Duplicate of Photo 972/7 (380). Duplicate of Photo 972/7 (381). Duplicate of Photo 972/7 (382). Duplicate of Photo 972/7 (383). Duplicate of Photo 972/7 (384). Duplicate of Photo 972/7 (385). Duplicate of Photo 972/7 (386). Duplicate of Photo 972/7 (387). Duplicate of Photo 972/7 (388). Duplicate of Photo 972/7 (392). Duplicate of Photo 972/7 (393). Duplicate of Photo 972/7 (394). Duplicate of Photo 972/7 (395). Duplicate of Photo 972/7 (396). Duplicate of Photo 972/7 (397). Duplicate of Photo 972/7 (398). Duplicate of Photo 972/7 (399). Duplicate of Photo 972/7 (400). Duplicate of Photo 972/7 (401). Duplicate of Photo 972/7 (402). Duplicate of Photo 972/7 (403). Duplicate of Photo 972/7 (404). Duplicate of Photo 972/7 (405). Duplicate of Photo 972/8 (406). Duplicate of Photo 972/8 (407). Duplicate of Photo 972/8 (409). Duplicate of Photo 972/8 (410). Duplicate of Photo 972/8 (411). Duplicate of Photo 972/8 (412). Duplicate of Photo 972/8 (413). Duplicate of Photo 972/8 (414). Duplicate of Photo 972/8 (415). Duplicate of Photo 972/8 (416). Duplicate of Photo 972/8 (417). Duplicate of Photo 972/8 (418). Duplicate of Photo 972/8 (419). Duplicate of Photo 972/8 (420). Duplicate of Photo 972/8 (421). Duplicate of Photo 972/8 (422). Duplicate of Photo 972/8 (423). Duplicate of Photo 972/8 (424). Duplicate of Photo 972/8 (425). Duplicate of Photo 972/8 (426). Duplicate of Photo 972/8 (427). Duplicate of Photo 972/8 (428). Duplicate of Photo 972/8 (429). Duplicate of Photo 972/8 (430). Duplicate of Photo 972/8 (431). Duplicate of Photo 972/8 (432). Duplicate of Photo 972/8 (433). Duplicate of Photo 972/8 (434). Illustrations for prints 434 and 436 have been inadvertently transposed in both sets of the work. Duplicate of Photo 972/8 (435). Duplicate of Photo 972/8 (436). Illustrations for prints 434 and 436 have been inadvertently transposed in both sets of the work. Duplicate of Photo 972/8 (437). Duplicate of Photo 972/8 (438). Duplicate of Photo 972/8 (439). Duplicate of Photo 972/8 (440). Duplicate of Photo 972/8 (441). Duplicate of Photo 972/8 (442). Duplicate of Photo 972/8 (443). Duplicate of Photo 972/8 (444). Duplicate of Photo 972/8 (445). Duplicate of Photo 972/8 (446). Duplicate of Photo 972/8 (447). Duplicate of Photo 972/8 (448). Duplicate of Photo 972/8 (449). Duplicate of Photo 972/8 (450). Duplicate of Photo 972/8 (451). Duplicate of Photo 972/8 (452). Duplicate of Photo 972/8 (453). Duplicate of Photo 972/8 (454). Duplicate of Photo 972/8 (455). Duplicate of Photo 972/8 (456). Duplicate of Photo 972/8 (457). Duplicate of Photo 972/8 (458). Duplicate of Photo 972/8 (459). Duplicate of Photo 972/8 (460). Duplicate of Photo 972/8 (461). Duplicate of Photo 972/8 (462). Duplicate of Photo 972/8 (463). Duplicate of Photo 972/8 (464). Duplicate of Photo 972/8 (465). Duplicate of Photo 972/8 (466). Duplicate of Photo 972/8 (467). Duplicate of Photo 972/8 (468). Duplicate of Photo 979/1, which see for full listing of prints. Duplicate of Photo 979/1, which see for full listing of prints. Duplicate of print 1. Duplicate of Print 1. Duplicate of print 1067. Duplicate of print 14.[Gelatin silver print, 122x177mm]. Duplicate of print 14. Duplicate of print 143 Duplicate of print 16.[Gelatin silver print, 114x165mm]. Duplicate of print 178. Duplicate of print 2, but with hand-colouring. The figures are numbered 1-9 on the print, but the key is lacking.[Hand-coloured albumen print, 199x150mm]. Duplicate of print 2.[Silver printing-out paper stereoscopic view, 152x75mm]. Duplicate of print 2.[Silver printing-out paper stereoscopic view, 153x76mm]. Duplicate of print 2.[Silver printing-out paper stereoscopic view, 155x73mm]. Duplicate of Print 2. Duplicate of print 23.[Gelatin silver print, 166x114mm]. Duplicate of print 23. Stereoscopic view. Duplicate of print 24.'In Iran the profession of charvardar is an ancient and highly-respected one. In their capacity as common carriers they are frequently called upon to carry large quantities of valuable merchandise over long distances and deliver it safely to distant destinations, often at considerable risk to their own personal safety.'[Gelatin silver print, 166x114mm]. Duplicate of print 2486. Duplicate of print 2573. Duplicate of print 2595. Duplicate of print 26. Duplicate of print 276. Duplicate of print 29.[Gelatin silver print, 301x228mm]. Duplicate of print 371. Duplicate of print 4.[Silver printing-out paper, 93x74mm]. Duplicate of Print 4. Duplicate of print 40.[Gelatin silver print, 120x178mm]. Duplicate of print 41. Duplicate of print 42. Duplicate of Print 42. Duplicate of print 5. Duplicate of Print 7. Duplicate of print 71; in better condition. Duplicate of print 74.[Sepia toned print, 177x128mm]. Duplicate of print 75; poor quality. Duplicate of print 77.[Gelatin silver print, 169x131mm]. Duplicate of print 77. Duplicate of Print 8. Duplicate of print 80. Duplicate of print 82.[Sepia-toned print, mounted on card, 198x294mm]. Duplicate of print 86, but printed in reverse.[Sepia-toned print, mounted on card, 215x304mm]. Duplicate of print 91. Duplicate of print 92. Duplicate of prints 76-77.[Silver printing-out paper, 100x75mm]. Duplicates of Photo 481/4 (9) and Photo 932 (11). Elaborately costumed dancers and musicians, peforming the dance in the Lugong Gyalpo Ceremony: see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 61-71. Elderly fisherman standing on beach at Madras. Embroidery being processed through the streets. En girls (a Keng Tung hill tribe) on right, Akha at left. Enlarged copy of print 1.[Gelatin silver print, 87x138mm]. Enlarged copy of print 7.[Gelatin silver print, 83x133mm]. Enlarged copy of print 75.[Gelatin silver print, 140x90mm]. Enlarged copy of this photograph at print 86.[Gelatin silver print, 63x45mm]. Enlarged duplicate of Photo 894/3 (47). Enlarged duplicate of print 1.[Gelatin silver print, 265x362mm]. Enlarged duplicate of print 2489. Enlarged duplicate of print 73.[Sepia toned print, 179x127mm]. Enlarged duplicate of print 75.[Sepia toned print, 139x174mm]. Ethnic group not identified. Ethnic group not identified. Ethnic group unidentified. Ethnic group unidentified. Ethnic group unidentified (?Shan). Ethnic group unidentified European photographing a Karen group. Although a rear view, this appears to be Sir George Scott, Superintendent of the Southern Shan States and a keen photographer. Evidently taken on the same occasion as part 282 (44). Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002.Mounted and stored separately in Box 664, shelf 85E. Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002.Mounted and stored separately in Box 664, shelf 85E. Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Exhibited The Menil Collection, Houston, Kurdistan: In the Shadow of History, 1 March - 31 March 1996. Faded images. Full-length standing portrait, in profile. 'The Holeyas are found in the Coorg houses all over the country. They perform menial work for the Coorgs, to whom they belong as members of their domestic institutions...They dress variously, but eat all descriptions of food...They are poor, ignorant people, some of good stature and robust consitution, but generally middle-sized men, of dark black complexion...The photographs are of Suba, and Ballajee, his daughter: the former five feet three inches, the latter four feet ten inches and a half in height.' Faded print.[Albumen print, circular image, 62x62mm]. Faded print. Full-length portrait. Faded print. Group of armed men, three on camels. Faded print. Group portrait of Burmese monks. Faded print. Seated group of five men. Faded print. Seated group of four men, armed with matchlocks. 'Ratores are natives of Rajpootana, and of the caste known as Ratore Rajpoots. Those settled in Berar are employed in escorting the treasure of Marwari bankers, and cloth merchants, and in guarding their houses at night. When not excited, or insulted, they are mild in disposition, and are believed to be honest, and trustworthy in character.' Faded print. Faded print. Faded print. Fakir kneeling on cloth with bundle of skewers, in preparation for the self-mutilation rites seen in the following prints. His blindness probably relates to the practice of extruding the eyeball (see prints ).Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 255x311mm]. Family arriving on a pony. Family group, photographed in camp at Dungkar. Family group, posed among piles of grass. 'The women grasscutters of Madras are a very industrious and useful race. Many of them are attached to cavalry regiments with regular pay, and their business is to furnish daily a bundle of grass or grass roots, which has to be measured by the native inspector before it is passed into the stables. The inspector shown in the photograph is evidently engaged in this duty, and his measuring instrument is hung about his neck...' Family group, seated beneath ceremonial umbrellas. No caption supplied. Family group, seated on a charpoy. Family group, squatting or seated, with household pots. Family group, the women seated at looms. Family group, three seated, two standing. Bowring describes the Pales as 'farm labourers of Tooloova descent' (p. 236).[Albumen print, 105x135mm]. Family group, with elderly man seated in seated. 'The group represented is of Mattana, Soobadar of Mercara, and his younger relatives...The ethnology of the Coorgs has not been defined, but it is evident they are a peculiar people and race, unconnected with the ordinary population of Mysore...' Family group. Family group. Family group. Family group. Family group. Family group. Family group. Family group (man, woman and son), with their belongings carried on their backs: 'They are originally from Eastern Tibet, working for the peasants. Just now they have come from the countey beyond Shi-ga-tse and are going from Shi-ga-tse to Gyang-tse...They carry with them a little tent, their only home...' Family group at the entrance to a rough hut. Family group of six figures and a baby, posed in front of houses. Family group of travellers, with children seated on mules. Family group of women and children on the deck of a junk. Family group on grass near river. Family group on the deck of a junk. The caption refers to the similar subject depicted in print 24. Family group posed against entrance stairway to a temple. Family group posed against textile backdrop, with attendants holding umbrellas above them. Family group posed beside a cairn of rocks on the pass. Family group posed in front of a characteristic Toda house. Family group posed in front of a substantial teak house, with retainers holding umbrellas over them. See also Photo 92/4 (73) Family group posed in front of a thatched house. Family group seated at low wooden table in open air. Family group seated in street. Possibly mis-captioned: the base of the substantial building in the background suggests city rather than village life. Original and duplicate negatives only, no print. Family group seated on a blanket in front of a woven screen.[Albumen print, 270x190mm]. Family group with camels and donkeys. Part of the Holmes series of views entitled With the Razmak Field Force. Family posed for camera in front of wall. Father and son posed for photograph. Female attendant pouring barley beer for a line of household servants, who will inturn present it to the actors; view from behind, looking over the heads of spectators. Female group; note leg bangles. Female group. Female group. Female group posed in front of a thatched house. Female group posed in front of thatched house. Female hill porters on the road, carrying large baskets on their backs. Female hill porters on the road. Female worshippers on the path. Festival barge on the water. For another copy of this print, see Photo 92/9 (324).[158x113mm]. Figure in foreground out of focus. Figure posed in the act of shaping wood with an adze. Figure seated at work at a low table. Figure seated on steps smoking long-stemmed pipe.[Gelatin silver print, 114x148mm]. Figures posed on hillside, probably shepherds. Stereoscopic view. Figures written on the print identify the following structures: (1) The Tor-ma; 2) hut of marsh-grass in which Tor-ma is burnt; (3) similar hut, burnt at the same time. With a large crowd of spectators gathered to watch the event. Richardson defines the Tor-gya as the ritual casting out of votive offering and the Tor-ma as the votive offering itself. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 68-70. This photograph is reproduced on p. 70. Figurre seated on pavement. Fisherman paddling a dugout canoe through the surf. Fisherman standing water with wicker fish trap. Fishermen launching canoes into the surf at Madras. Fishermen laying nets, West Bengal?. Five prints, three showing the various stages of casting and pulling in the net, two showing fishermen in light boats made from timber lashed together. Food being distributed to in a camp. Duplicate at Photo 20 (36). Food seller's stall in a Hong Kong street. Food seller standing in roadway in front of tiered gateway. He carries his pots and foodstuffs on a yoke balanced on one shoulder. Enlarged copy of this photograph at print 18.[Gelatin silver print, 55x80mm]. For another copy of this print, see Photo 92/9 (107).[175x112mm]. For another copy of this print, see Photo 92/9 (109).[179x118mm]. For another copy of this print, see Photo 92/9 (167).[120x179mm]. For another copy of this print, see Photo 92/9 (361). The woman seated on the left also appears in Photo 92/9 (32).[121x183mm]. Formal group of men and boys, posed with spears. Formal group portrait. Duplicate at Photo 430/2 (83). Formal group portrait. Duplicate at Photo 430/2 (84). Formal group portrait. Formal group portrait of Chamba landowners. Formally posed full-length portrait of four men. The doctor and the monk sit on each isde of the Nono (Deputy) and his son, who are standing in the centre of the group: 'Now that we are going to be stationary for some time [ie remaining at Dankhar], I must introduce the Nono and his eldest son to the favourable notice of my readers. Here they are. On one side, a jolly doctor from Laloong in the Lingti valley, a great powerful fellow, the finest make of a man in Spiti. On the other, a monk from the Peen monastery. Why do these people screw up their eyes and mouths I wonder? I have an idea that all Tartar tribes do. Is it the cold bleak winds of their boundless deserts, or smoky houses, or both, or merely a trick? [There then follows a detailed description of the dress of the inhabitants of Spiti]' (Egerton, p. 25). Formally posed group. A small copy print. Formally posed group. Formally posed group of men from Pangi in Chamba State. Formally posed group of Naga men and youths, armed with spears. Formally posed group of soldiers. Faded print. Formally posed group of soldiers in courtyard. Formally posed group of the Maharaja's bodyguard. Formally posed group of women from Pangi in Chamba State. Formally posed group portrait: ' There are also in Lhasa some two or three hundred Mahomedans from Ladakh, the north-eastern province of Kashmir. A few of these are descendants of the prisoners captured from Zorwar Singh's army. The latter were allowed to return to Ladakh, but some, of their own accord, remained in Lhasa. These Ladakhi Mahomedans are prosperous traders; an unaggressive community that goes quietly about its business and is amenable to the Tibetan jurisdiction...As is the case with Nepalese, they wear Tibetan dress, and many of them have followed the example of both Chinese and Nepalese by marrying Tibetan wives...' (Tibet Past and Present, p. 243). Formally posed group portrait.[Albumen print, 135x97mm]. Formally posed group portrait. Formally posed group portrait of Gaddi men from Brahmaur in Chamba State. Formally posed portrait of a group of men from Chaurah in Chamba State. Formally posed portrait of a group of women from Chaurah in Chamba State. Formally posed studio group of uniformed police.[Albumen print, 290x217mm]. Formal portrait. Formal portrait. Formal posed group. Formal posed group. Formal posed group of Afghan doctors. Formal posed group of armed Afghan policemen. Formal posed group of five men seated around a tray laid out with tea. Formal posed group of Kabul dignitaries and retainers. Formal posed group of Kabul intellectuals. Photograph reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 128. Formal posed group of merchants. Formal posed group of Muslim clerics. Formal posed group of village headmen from the Kabul district. Formal posed group of youths from Kafiristan (modern Nuristan). For other copies of this photograph (later printings, with the background whited out, see APAC Photo 15/10(49) and Photo 28/2(38). Fortune teller and client. This print has been transposed with print 56 and given the incorrect caption, 'Derwishes, professional beggars.' Four Bhil women seated on the ground. Four Burmese girls dancing. Four craftsmen seated in front of the premises of Ganemede papier mache makers in Srinagar.[Gelatin silver print, 123x117mm]. Four figures, seated on carpet. Faded print. Four figures posed on hillside. The same men also appear in print 31. Four jewellers seated with the tools of their trade. Four men with baskets of charcoal on their backs. Four soldiers, seated on a carpet, holding their matchlocks. Four young girls posed in a row for the photographer. French's caption on the verso reads: 'Some of the ""Tarts"" here'. Ful-length portrait of four men, all holding furled umbrellas; the background against which they stand, depicting a wall and trees, is painted onto the negative. '...the third [picture], [shows] the same class of people from Damnuggur, in the east of the peninsula, hardly distinguishable from the two Sonees, or goldsmiths (the right and left figures), by whom they are accompanied...' Full-face head-and-shoulders portrait of a Kota man, with a rule to indicate scale on the left.[Albumen print]. Full-face head-and-shoulders portrait of a Kota man, with a rule to measure scale on the left. Full-face head-and-shoulders portrait of a Kurumba man, with a rule to indicate scale on the right.[Albumen print]. Full-face head-and-shoulders portrait of an Irula man, with a rule to indicate scale on the right.[Albumen print]. Full-length back view of a nomad woman, showing the 'cloak' attached to the woman's hair and reaching almost to ground level (as described in note at print 341).[Gelatin silver print, 103x156mm]. Full-length Carte de visite portrait of a lady seated on a donkey. Full-length carte de visite size portrait, photographed in the open air. Full-length carte de visite size studio portrait. Youth seated with a hookah. Full-length Carte de visite studio portrait of two men with muskets. Full-length commercial study of a girl with a pestle and mortar.[Silver printing-out paper, 110x151mm]. Full-length group of two couples in traditional dress. This print dates probably from the 1890s although the original photograph was taken by Bourne in the 1860s. The bottom left-hand corner of the glass plate, containing Bourne's signature, has been broken off in the intervening years. Full-length group of Wa women. Full-length group portrait. Full-length group portrait of four seated men. Full-length group portrait of two couples. Full-length portrait, against a painted backdrop, of a girl in dancing costume. Full-length portrait, against a rocky background. Full-length portrait, faded print. 'The photograph represents a group of four persons of this class, three men and one woman, who, according to the custom of polyandry prevalent among the Kunyts, may probably be the wife of the three brothers, with whom she is represented in company.' Full-length portrait, hand-tinted of two Turkomen, wearing their characteristic black woollen hats: 'The Tekke Turkomen are, in general, of normal height and well built, averaging between 5'9'' and 5'11'', while six-footers are by no means unusual, but the eneormous papakha headgear adds considerably to their stature, and, especially when mounted on horseback, they are quite impressive.'[Gelatin silver print, hand-coloured, 108x176mm]. Full-length portrait, he sits smoking a pipe. Full-length portrait, kneeling on a carpet. Full-length portrait, posed in a courtyard and holding a stout stick. The Banjaras are a nomadic tribe of Central India. Full-length portrait, seated beside a tree. Full-length portrait, seated cross-legged, with a pile of coins in fron of him. Oval image. 'The Aroras are a caste of Hindoo tradesmen, who are numerous in the towns and villages of the Punjab; and the city of Mooltan is perhaps the principal place of their origin, and present residence. Full-length portrait, seated cross-legged. 'Any Hindoo, from the Brahmin to the Sudra, can become a Bairagee. He has only to renounce the world, and take upon himself the vows of the order, and he is free to wander where he pleases, doing penance and pilgrimage.' Full-length portrait, seated cross-legged. A somewhat faded print. 'Hotee Loll is a Hindoo belonging to the Burneah, or trading, caste, and of the Baraysanee sect. He is an inhabitant of Hattrass, a large commercial town in the district of Allyghur, of which he is a native...' Full-length portrait, seated cross-legged. Oval image, some fading. 'Aged thirty-five years; height five feet two inches; complexion dark, with black eyes and hair. He is an inhabitant of Kanchrowlee, district of Allyghur. The family have lived in the last-named and the neighbouring village of Gyndowlee for many generations past. The Bohras are professional money-lenders and usurers, and also frequently acquire landed property...' Full-length portrait, seated cross-legged. Oval image. 'Jumna is a native of the Boolundshahur district, about twelve years of age. He is here represented as dressed, during the annual fair at Hurdwar, torepresent Kuniya, or Krishna...He is seated upon a wooden platform on the 'Hurka Pairee' or sacred steps leading down to the Ganges, with a brass dish (called a thalie) placed before him, and begs charity from the visitors at the fair. He is by caste a Brahmin and a vegetarian. On his head he wears a cap surmounted by a circular fan of peacock's feathers. He is richly dressed in silk, with a heavy gold embroidered shawl cast over him,; under him is a cotton carpet, which covers the platform.' This photograph is presumably a studio recreation of the scene. Full-length portrait, seated cross-legged. Oval image. 'Poorun Sing is a Hindoo inhabitant of Godha, district Allyghur, where the tribe to which he belongs has lived for hundreds of years. They are landowners, and support themselves by the proceeds of their property. They sometimes travel on business, and their pursuits and dispositions are now generally peaceful, but they are reckoned a proud and warlike race. They are Hindoo Rajpoots of the Bais sect..., and worshippers of the Ganges...Poorun Sing is forty-two years of age, he stands fivefeet six inches high, his complexion is tolerably fair, and his eyes and hair dark.' Full-length portrait, seated cross-legged. Oval image. 'The man in the photograph wears a turban of red silk; a scarf of silk, checked red, blue, and white; and trousers of checked red and white cotton. The Beloch, in general, have a rude, forbidding cast of features, to which the subject of the photograph is certainly no exception.' Full-length portrait, seated cross-legged. Oval image. Full-length portrait, seated cross-legged. Oval image. Full-length portrait, seated cross-legged and holding a stringed musical instrument like a small fiddle. 'Some...like the individual represented, are mendicants of a more peaceful order, who go about with a small fiddle with three strings, played with a bow, as represented in the plate. The frame or body of the instrument is of wood, over which a thin skin or parchment cover is stretched. The tone is very sweet, notwithstanding its rude appearance. Emam Buksh's chief vocation appears to be a ballad singer, to which he has retired perhaps from the more active demands of his profession...' Full-length portrait, seated cross-legged on a carpet. 'The subject illustrated, it will be observed, has the strong bold features of Rajpoots in general, as befits the descendant of a pure Aryan tribe. Hindoo Ranghurs are agriculturalists for the most part, and scarcely in any respect differ from their Mahomedan brethren in general or social customs. They are a temperate, soldierly class of men, exceeding only in opium, which they take habitually; and neither in dress nor in character do they differ from other Rajpoots. They are a fine athletic race, and in particular good swordsmen.' Full-length portrait, seated cross-legged on a carpet. Oval image, some fading. 'They are, in short, a steady, money getting class of people, given to hard bargains and usury; but they are, at the same time, men of their word, strict in their transactions, not speculative, and rarely becoming bankrupt. No matter how small their beginnings, they persevere in a wonderful degree till they attain wealth, or at least competence, and they are never known to retire from business...' Full-length portrait, seated cross-legged on a carpet. Oval image. 'Meer Inayut Hosein, a Syud Mahometan, as his name indicates, is an inhabitant of Jellalee, in the Allyghur district, where the family have lived for many generations. They are a numerous fraternity, found chiefly in the Oude districts, and, unlike other Mussulmans, they shave their beards. They generally live on the proceeds of their lands,but numbers of them hold office under Government in various capacities...' Full-length portrait, seated cross-legged on a carpet. Oval image. 'The photograph represents a Pundit, or Brahmin religious instructor, Ramnarain by name. He is an inhabitant of Coel (Allyghur), where his family have lived for upwards of 200 years. They are the religious instructors of the people, and professional astrologers and fortune-tellers...' Full-length portrait, seated cross-legged on a couch. Oval image. 'The Akalees form one of the five great divisions of religious mendicants among the Sikhs; though they can hardly be considered mendicants in a strictly religious sense, being rather fanatical soldiers, who have become a class...As represented in the photogrraph, the Akalee is always armed to the teeth. His high conical turban, like the rest of his dress of a blue colour, is encircled by rings of sharp steel quoits, in the use of which he is very skilful. The rest of his arms are a sword and shield, a steel bow of the ancient Parthian pattern, with a brace of horse pistols, or a collection of daggers in his waistband...' Full-length portrait, seated cross-legged on a couch. Oval image. Full-length portrait, seated cross-legged on a rug. Oval image. Full-length portrait, seated cross-legged on a small couch. Oval image. Full-length portrait, seated cross-legged on a small couch. Oval image. Full-length portrait, seated cross-legged on carpet. Oval print, with some offsetting from letterpress on print surface. 'Izzut Ali Khan, the subject of the photograph, is a Mussulman inhabitant of Coel (Allyghur), where his family have dwelt for seven or eight centuries. They are landed proprietors and holders of some rent-free grants conferred by early Mahomedan authorities, on the proceeds of which they live...' Full-length portrait, seated cross-legged on carpet. Oval print, with some offsetting from letterpress on print surface. The accompanying description of the sitter is a particularly striking example of the way scientific objectivity is abandoned in favour of propaganda: 'The Syud is now sixty-four years of age, and about five feet three inches in height. His complexion is dark, and his eyes black; his hair and beard white. His features are peculiarly Mahomedan, of the Central Asian type; and while they vouch for the purity of his descent, exemplify, in a strong manner, the obstinacy, sensuality, ignorance, and bigotry of his class. It is hardly possible, perhaps, to conceive features more essentially repulsive. On the classes to which Shair Ali belongs, time and change, with all the adjuncts of modern civilization, make little progress.' Full-length portrait, seated cross-legged on carpet. Oval print. Full-length portrait, seated cross-legged on carpet. Full-length portrait, seated cross-legged on coir matting. Secular ('Laukika') Smarta Brahmin.[Albumen print, 99x123mm]. Full-length portrait, seated cross-legged on floor. This portrait is also used in Watson and Kaye's 'People of India': see Photo 972/8 (410). It is there captioned 'Sri Vishnu Brahmin, Mysore.'[Albumen print, 95x125mm]. Full-length portrait, seated cross-legged on floor. This portrait is also used in Watson and Kaye's 'People of India': see Photo 972/8 (417). It is there captioned, 'Kunbi Dasare, Hindoo, Mysore': 'The very picturesque figure represented...is a Dasare, a member of the Kunbi class, who has taken upon himself vows of poverty, mendicancy, and pilgrimages to holy shrines, and the service of God generally, in consequence of some vow. He wears a plume of peacocks' feathers in his turban, which is generally composed of portions of other old old turbans of various materials and sizes. He has painted his caste mark in imitation of a Sri Vishnu Brahmin, while he has smeared his face and eyelids with white ashes, and probably the end or lower part of his nose is red with applied vermilion. Round his neck is a perforated copper plate, brightly polished, exhibiting an incarnation of Vishnu, a mounted conch shell, and a necklace of large wooden beads. A dressed soft panther skin is around his waist...In his hand, lying across his knees, is a long straight sword, with a Mahratta handle, and his dress is probably of quilted calico, dyed with the bark of the acacia...When the Dasare doffs his religious costume, he becomes a meek, inoffensive individual, much resembling all his class, which here, as in other parts of India, is gentle, industrious, faithful, and trustworthy...The man is a Kunbi, or , as it is called in Canarese, Vokaliger, a tiller of the soil, like his brethren of Northern India, Berar, and Maharashtra. He is a Sudra of good caste, numbers of whom sometimes take service as servants, porters, and members of the police; but for the most part preferring agricultural pursuits, in which they are very successful.'[Albumen print, 92x116mm]. Full-length portrait, seated cross-legged on floor. This portrait is also used in Watson and Kaye's 'People of India': see Photo 972/8 (422), captioned 'Lingayet. Hindoo. Mysore.' The Lingayata movement, founded in Southern India in the 12th century, recognized the equality of women and abolished caste distinction and the authority of Brahmins. Bowring notes: 'Of the unorthodox castes, the most numerous and influential is that of the Lingayats or Lingavantaroo, so called because they wear around their neck in a little silver box the lingam, or virile organ, representing the god Shiva. Their great teacher was one Basava of Bellary, who took his name from Basava, the bull on which the god is fabled to ride. Lingayats do not believe in the transmigration of souls, do not observe caste strictly, nor days of impurity for women, and above all things detest Brahmans, whose ceremonies they reject, and in whose houses they will neither eat nor drink. They also hold themselves aloof from government service, and are chiefly occupied as traders, taking the lead in commercial pursuits in the northern parts of the province...' (p. 194).[Albumen print, 95x124mm]. Full-length portrait, seated cross-legged on floor. This portrait is also used in Watson and Kaye's People of India: see Photo 972/8 (418), captioned 'Uppar. Hindoo. Mysore.'[Albumen print, 90x118mm]. Full-length portrait, seated cross-legged on ground.[Albumen print, 90x108]. Full-length portrait, seated cross-legged on the floor. Oval image. 'Khulleefa Daood is a Mahomedan, and belongs to the so-called Buni Israeel, i.e., descendants of Israel; in other words, he is of Jewish origin...' Full-length portrait, seated cross-legged on the ground, with various religious items spread out in front of him. Faded print. 'The figure represented is engaged in his 'Pooja', or morning worship, with the objects of adoration before him...' Full-length portrait, seated cross-legged with a sword resting on his lap. Oval image. 'Heera Sing is a Rajpoot Thakoor, or nobleman of the Jadoon caste, residing at Judbunsee. His native place is Somna, in the Allyghur district. He possesses large landed property, which he manages in person. The Jadoon tribe is peculiar to Allyghur and the neighbourhood, and is not found elswewhere in any large numbers...Thakoor Heera Sing is fifty-five years of age, about six feet in stature, complexion dark, with black hair, mixed with grey.' Full-length portrait, seated cross-leggs on a carpet. Oval image. Full-length portrait, seated in a courtyard. Second copy neg at B.2738. Full-length portrait, seated on an upturned basket and armed with a matchlock: 'These wandering merchants carry on all the trade between Central Asia and India...Every years they descend from the passes into Afghanistan, with long droves of camels laden with wool and other produce, and take back salt, spices, sugar, Indian condiments, with British and Indian manufactures...Their wealth lies chiefly in camels, of which they possess large and valuable herds. The security afforded to them by the establishment of order on the frontier is acknowledged by them, snd must afford a vivid and happy contrast to the lawlessness and turbulence of former times, through which they had to fight their way. In every point of view the Povindahs are a most interesting class of the varied tribes of the frontier, paceful and industrious, following their hereditary calling of centuries with admirable perseverance. They are free from the haughty pride and religious excitement of the Afghan frontier tribes.' Oval image. Full-length portrait, seated on a small stool. Oval image. 'He is a Brahmin of Cashmerian origin, but his family have lived at Lucknow for more than a century. He has himself resided at Allyghur and the neighbouring districts for nearly fifty years. Persons of thsi class are rarely to be met with in this part of Hindoostan.' Full-length portrait, seated on carpet. Oval image, some fading. 'Duleep Singh is a landholder of Kullianpoor, in the Allghur district, where the family have been located for five or six hundred years. They are cultivators, with settled habits, subsisting on the produce of their lands...Their religion is Hindoo; they are Chohan Rajpoots, and are reckoned a brave warlike race, ranking next below Brahmins in caste...' Full-length portrait, seated on coir matting and holding a stick. Also used in Watson and Kaye's People of India: see Photo 972/8 (454), captioned, 'Bedur or Veddar. Primitive tribe. Mysore and Southern India.' Full-length portrait, seated on ground. 'Although the person is termed a zemindar or landholder, he appears from his costume to be an ordinary peasant. He is enveloped in a thick ruzzai or padded quilt, which covers the whole of his person. In his right hand is a lathi or bamboo club, shod at the end with rough iron rings, a most formidable weapon in the hands of a powerful man...In his left is a small hooka, the bottom of which is a cocoa-nut...Goojurs are much addicted to smoking, particularly ganja...' Full-length portrait, seated on mat. Full-length portrait, seated on the ground. Full-length portrait, seated on the ground. Full-length portrait, seated on the ground. Full-length portrait, seated on throne. Full-length portrait, squatting on coir matting, with bundles slung from a wooden yoke beside him.[Albumen print, 82x107mm]. Full-length portrait, standing in doorway. Full-length portrait, standing in front of a Mishmi house. He wears the Mishmi hat and tunic, smokes a pipe and has a short sword at his waist. Full-length portrait, standing in garden. Full-length portrait, standing in the open air. Full-length portrait, standing on a verandah. 'Wears felt hat, blue and white striped robe with knife hanging down left side, bare legs and feet. White waistcoat and under it a coloured vest. Both these and the robe are of cotton.' Full-length portrait, standing on roadway. Full-length portrait, standing with another, younger woman, presumably also a nun. '� plate negative bought from Phipraj.' Full-length portrait, the father seated, the son standing at his side. 'The photograph represents the chief of the Khuttuk tribe or clan, who, having farmed the district of his tribe from the Sikh Government, was confirmed in his holding by the Government of India on the annexation of the province. The revenue of the district suffices for his maintenance, and the support of a contingent of 120 horsemen. The chief also pays the Government 20,000 rupees per annum. He has been perfectly faithful, and has assisted Government in all the operations against the Afreedees and other frontier tribes on the second occasion of their rebellion.' Full-length portrait. Lepcha from Darjeeling District? Full-length portrait. Small, square format print. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. The woman is holding an umbrella. Full-length portrait. The woman sits holding a vase in her right hand. Full-length portrait. This negative presumably belongs with the photographs taken during a trip to Assam in Photo 390/2 (87-142). Negative marked up for cropping. Duplicate negative, no print. Full-length portrait against a studio backdrop, elder man seated at a table, younger man (his son?) standing behind him. Photograph credited to Beato on basis of the background, which appears in a number of Beato studio photographs. Full-length portrait group. See also Photo 92/9 (336). Full-length portrait of a (?Naga) tribesman. Negative marked up for cropping. Original and duplicate negatives only, no print. Full-length portrait of a beggar woman, leaning on a stick. Full-length portrait of a Bhutia girl holding knitting. Full-length portrait of a Brahmin man, standing in a village street. Full-length portrait of a Brahmin man seated cross-legged on a carpet. Full-length portrait of a Brahmin Vaidika ('religious men, who officiate in temples and keep themselves nominally aloof from wordly pursuits'), seated on a wooden box against a plain backdrop. Of the schools of Hindu religious teaching in Mysore, 'the Smartas hold that the creature is not separate from the creator, but partakes of his essence, the doctrine being called adwaitam. Its votaries wear transverse marks on the forehead, and revere as their high priest the Sringiri Swami [see print 207], the successor by apostolical descent of the famous sectarian Shankar Acharia.' This portrait is also used in Watson and Kaye's People of India: see Photo 972/8 (414), captioned, 'Vaidika Smartha Brahmin. Mysore.'[Albumen print, 95x125mm]. Full-length portrait of a diffrerent figure from 114-115. Full-length portrait of a drumbeater of the Dholi caste. Full-length portrait of a father and his two sons. Published in Bremner's Baluchistan Illustrated 1900. Full-length portrait of a father and his two sons. Same family as Print 99 although in this print the father is seated. Published in Bremner's Baluchistan Illustrated 1900. Full-length portrait of a fisherman, carrying fish-traps on his back, with his wife beside him holding recently-caught trout. Full-length portrait of a Gaungto (Karen) man seated on a rock. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 316, with caption note: 'A Gaungto bachelor. 'I have no wife to bother my life.' The rules governing marriage within the clan are so strict among many of the Karen groups that in some places there are many doddering bachelors in the Bachelors' Hall and plenty of aged spinsters without a home of their own (see text, page 319).' Full-length portrait of a group of Lahu men and women in their finery. Variant at Photo 92/9 (337), where the location is identified. Full-length portrait of a Gujar woman standing in a field, carrying a load on her head. A commercially produced portrait.[Silver printing-out paper, 109x152mm]. Full-length portrait of a Kanydan chief in official dress, standing beside three seated women, presumably his wife and two daughters.[Albumen print, 264x208mm]. Full-length portrait of a Karen girl holding a wicker basket. Full-length portrait of a Kuki girl standing in a village. Negative marked up for cropping. Original and duplicate negatives only, no print. Full-length portrait of a man, seated cross-legged on coir matting, with basket-making materials. This portrait is also used in Watson and Kaye's People of India: see Photo 972/8 (424), captioned, 'Korama or Korwa. Hindoo. Mysore.'[Albumen print, 101x126mm]. Full-length portrait of a man. Full-length portrait of a man and a woman, seated on the ground, with a bottle placed between them. Photographed against the same cloth backdrop as prints 191a and 191b.[Albumen print, 102x123mm]. Full-length portrait of a man and a woman, the man seated and posed in the act of sharpening a sickle, the woman standing as she gathers a bundle of grass. Bowring describes the Kavatis simply as Coorg farmers.[Albumen print, 105x135mm]. Full-length portrait of a man and a woman. Oval image. 'Tharoo is the name of a tribe found chiefly in Nipal and in the Tirai of Rohilcund...In our own territory, they inhabit the country along the base of the sub-Himalayan mountains between the Ganges and the Gunduk...' Full-length portrait of a man and two women. Full-length portrait of a man carrying a bamboo pole, his thighs tattooed. Full-length portrait of a man of the Chamar or leatherworker caste, seated on the ground with his shoe-making tools. Some yellow staining on surface of print. Full-length portrait of a man of the Koshti (weaver) caste seated ouside a house with bales of material spread out around him. Full-length portrait of a man of the Lohar (blacksmith caste) squatting with the tools of his trade, a young boy seated beside him. Full-length portrait of a man of the Mochi caste, seated on coir matting. This portrait is also used in Watson and Kaye's People of India: see Photo 972/8 (423), captioned, 'Mochis. Hindoos. Mysore.'[Albumen print, 80x106mm]. Full-length portrait of a man of the Nai (barber) caste seated cross-legged on the ground with the tools of his trade. Full-length portrait of a man seated cross-legged on the floor. Oval image. 'Ghauteea, in English 'wharf or bank-men,' is the name given to a class of people, always Brahmins, who at certain religious festivals line the banks of the Ganges, extorting a fee from each bather.' Full-length portrait of a man with two bulbul birds perched on his hand. Full-length portrait of a Monba man. Full-length portrait of a Monba woman. Full-length portrait of an Afridi man, leaning against a rock and holding a jezail and a curved sword.[Gelatin silver print, 212x290mm]. Full-length portrait of an aged man, seated cross-legged on a small couch. Oval print, faded. 'The subject of the photograph resides at Lahore. He has lost an eye, which is covered by an ornament pendant from his turban; and it is a strange peculiarity of this person, that he dresses himself on all occasions in female apparel.' Full-length portrait of an ascetic, covered in ash. Full-length portrait of an ascetic, sitting cross-legged with palm-leaf books in front of him and wearing a cumbersome metal collar. Probably the print listed in the Nicholas & Co. catalogue as '13. Devotee, with iron collar.' Full-length portrait of an elderly Brahmin seated reading in the open air. Full-length portrait of an official in court dress. Full-length portrait of an unidentified man, ethnic group unknown. Negative marked up for cropping. Original and duplicate negatives only, no print. Full-length portrait of a Pahari Panwar cultivator. Full-length portrait of a Patava or Patwa man (cotton thread worker) seated on the ground with the implements of his trade. These include a held between his toes on which the cotton thread is held taut. Full-length portrait of a Raghubansi Rajput, seated with a sabre. Full-length portrait of a Rajput man of the Tomar clan, seated with his sabre. He carries a prominent caste mark on his forehead. Full-length portrait of a Rajput of the Sesodiya or Gahlot clan, standing with one hand on hip, the other holding a sabre. Full-length portrait of a Rajput of the Sikarwar or Sikaravari clan, seated with his sabre. The Sikarwars are a branch of the Bargujar Rajputs, based in the Tonwarghar district. Full-length portrait of a sanyasi or religious mendicant or wanderer. Full-length portrait of a seated woman. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 318. The photograph shows the characteristic headdress of married Bashgal women: 'Here, for the first time, Bashgal women were seen in their own country by any European, and the novel experience was not pleasing. They had hard, forbidding faces, and were very dirty. Their only dress was a long goat's-hair gown, reaching from the neck to below the knee, and they, like the men, wore ankle boots of soft brown leather. The married women wore a head-dress, but only out of doors. Their head-dress is peculiar to the Bashgal Kafirs. It consists of a cap of goat's-hair cloth tied on to the head behind the ears, from which spring four horns of wood covered with human hair and wool. The front horns stand up to the height of about 8 inches, sloped outwards like those of an antelope, whilst the rear horns curve downwards towards the neck. Between the two front horns there are usually brass ornaments in a bunch; very often English thimbles are used for this. This peculiar head-dress is laid aside indoors...'[Albumen print, 152x201mm]. Full-length portrait of a Shan girl posed in front of a palm weave house. This is a late print of a Beato photograph usually titled 'Shan Beauty'. Full-length portrait of a Shan woman standing in front of a thatch and palm-leaf house. This portrait is reproduced in a number of contemporary works, and in several is specifically attributed to Beato. Full-length portrait of a smiling girl, on the verandah of a house overlooking Inle Lake.[Gelatin silver print, 80x133mm]. Full-length portrait of a smiling Mishmi girl, standing with arms folded. Full-length portrait of a smiling Shan youth standing in a clearing. [99x125mm]. Full-length portrait of a South Indian woman seated beside a lake. Full-length portrait of a squatting figure. Full-length portrait of a squatting Khanderra (lowland Khond) woman. Full-length portrait of a squatting Lohar woman. Full-length portrait of a squatting man.[Albumen print, 92x116mm]. Full-length portrait of a squatting Wa man. Slightly unsharp.[Gelatin silver print, 192x139mm]. Full-length portrait of a squatting woman of the Josi or astrologer caste. Full-length portrait of a squatting woman of the Nai caste. Full-length portrait of a Tibetan trader, his wares carried on his back. Original and duplicate negatives only, no print. Full-length portrait of a white-haired Lushai man. Full-length portrait of a woman.Exhibited The Menil Collection, Houston, Kurdistan: In the Shadow of History, 1 March - 31 March 1996. Full-length portrait of a woman. Full-length portrait of a woman and young child. Full-length portrait of a woman of the Chamar or leather-working class. Full-length portrait of a woman of the Tamboli (pan and tobacco sellers) caste. She is seated on the ground with a pot of lime and other ingredients for making pan. Full-length portrait of a woman standing against a background of foliage. In front of her on the ground lies a tea plucker's basket, with a water pot at the right. Full-length portrait of a woman wearing the all-concealing burka. Full-length portrait of a Yinbaw Karen couple. Full-length portrait of a young beggar. Full-length portrait of a young girl at the roadside. Full-length portrait of a young man, seated on floor and leaning on a low desk. This portrait is also used in Watson and Kaye's 'People of India': see Photo 972/8 (409). It is there captioned, 'Sri Vishnu Brahmin, Mysore.'[Albumen print, 103x100mm]. Full-length portrait of a young man seated on the ground in front of a wooden building.[Gelatin silver print, 55x80mm]. Full-length portrait of a young Vietnamese woman smoking a form of pipe.[Albumen print, 172x215mm]. Full-length portrait of a Zulu man. Full-length portrait of child seated on a stone parapet. Full-length portrait of convict in leg-irons, standing in street. Full-length portrait of elderly woman seated on carved wooden chair, with maidservants seated on ground around her. Full-length portrait of figure on road. Full-length portrait of figure seated cross-legged on carpet. Oval image. Full-length portrait of five men, two seated. 'The picture of the Hara Rajpoot group represents five soldiers in the service of His Highness the Maha Rao of Kotah, armed with matchlock, sword, and shield, their usual weapons. The figure on the left is dressed in a coat and waistcloth of white cotton cloth, and a yellow turban. The centre figure, standing against a tree, wears a padded cotton coat of rose colour, turban dark red, and waistband of white cloth. The man sitting in the foreground wears a coat of buff-coloured cotton, with white waistcloth and dark red turban. The right-hand figure is dressed entirely in green, except the white waistcloth; and the man next to him is in a padded coat of light yellow, with white waistband and striped turban of red and yellow. The height of the man standing on the right is five feet nine inches.' For other copies of this print, see Photo 971 (68) and Photo 1000 (4359). Full-length portrait of four actors, standing in road; the two outer figures are masked. This photographed, captioned 'Ache Lhamo dancers', is reproduced in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 97. Full-length portrait of four figures, seated in a row in European chairs, with attendant standing behind. Same composition and setting as print 358. Rao Krishn Rao, seen in print 357, is seated second from right. 'The present group consists of Brahmins who are representatives of families that have long been settled in the Saugor and Nerbuddah provinces; but they keep up their connection with their parent land, and do not make local marriages, usually going to the Deccan to contract them. They retain their own language perfectly, and from their high class as Brahmins, and their learning, are much respected and esteemed. Brahmins, in general, wear very plain clothes, and when serving in a priestly character have nothing on the head or the upper part of the body; but in these instances the figure on the right of the picture wears cloth of gold on a blue ground; the second, cloth of gold with a pink ground; the third, a red silk coat with gold lace; the fourth, a blue silk coat with gold lace; the turbans, scarves, &c., of all are of like and suitable richness. Rao Krishn Rao has received a title of honour, Rao Sahib, and a medal for good services from Lord William Bentinck, which he is fond of displaying. The rest are pensioners according to the rank they held in the native service, while they still continue their priestly profession...' Full-length portrait of four men. 'This striking and effective group of Khan Zadas evidently belongs to the agricultural class, as the wooden plough in the foreground, with its gear attached, plainly denotes [the plough is described in considerable detail later in the letterpress]. Two of the men are sitting upon a charpae or bedstead, one of whom has a small hookah in his hand...The Khan Zadas were originally Goojurs, but were converted to the Mussulman faith at the time of the Emperor Aurungzeeb...The tribe is not migratory, and is well conducted and industrious as cultivators, though many of them take service, expecially in the irregular cavalry, where they have always behaved well. Almost, as a rule, the Mewattee Khan Zadas are fine, handsome men, combining the sturdy figure of the Goojur with the grace of their Pathan progenitors, and they are hardy and brave...' See Photo 792 (2818) for a variant of this photograph, almost identical, there captioned Jat Zemindars. Full-length portrait of four men. Full-length portrait of four men standing in front of a background of columns painted onto the negative. 'Bombay was visited last year by two of the Rajpoot chiefs of Goozerat, who, with their attendant nobelemen, form the subject of our picture.' Full-length portrait of four men standing in front of the wall of an unidentified building: 'There are four or five hundred Bairagees, or religious mendicants, attached to the [Ayodhia] temple, who take it by turns to go begging all over India; and twice a-year hundreds of thousands of pilgrims come from remote distances to make offerings to the shrine; the income of the temple from these sources is believed to be very considerable. The Mohunts are the chief authorities, or as they may be termed abbots of this great Bairagee monastery.' Full-length portrait of four women, seated on the ground, with a servant standing behind. 'Those represented in the picture are natives of Rhio, an island fify miles of Singapoor...The two women and the girl in the picture are of high birth, the lad standing behind and the woman in the spotted jacket in front are attendants. They dress in native silks and sarongs, fine muslins and chintzes...' Full-length portrait of four women. Full-length portrait of man holding a stringed instrument. Poor quality photograph. 'Bhat, also Bharat and Bhattu, is the Hindoo equivalent for bard, herald, genealogist, and chronicler...The Bhats are respected for their reputed sanctity, but equally dreaded for their rapacity...Among all classes and tribes in which the crime of dacoity is followed as an hereditary profession, there is none whose proceedings are characterized by such boldness and skill as Bhats...' Full-length portrait of man in leg irons and chains. Full-length portrait of man posed in the act of digging a fox out of its hole. Oval image. 'Sookha resides at Coel, where members of the the tribe have had their home for centuries past. They live by snaring wild animals, making ropes and twine, as well as brushes of cocoa nut fibre, used by weavers. Kunjurs are for the most part a wandering, thievish race, resembling gipsies, and are to be found in nearly all parts of India...' Full-length portrait of man seated cross-legged on a carpet, with a book open on his lap. 'The photograph represents a respectable individual of the Kazi class, who has strong Mahomedan features of the Arab type. He wears a Cashmere shawl, twisted round his head as a turban; another handsome shawl folded round his shoulders; while his tunic is probably of quilted chintz or figured silk. His head is shaved, and the moustache cut away in the orthodox manner. On the little finger of his right hand is his official signet-ring; and the open book before him may be the Koran, or a work on Mahomedan law which he is consulting...' Full-length portrait of man seated cross-legged on coir matting.[Albumen print, 92x116mm]. Full-length portrait of man seated cross-legged on ground. Full-length portrait of masked figure. Small snapshot. Full-length portrait of monk standing at side of road. Full-length portrait of mother and child. The woman in this photograph appears as a member of a group of Parsi women in William Johnson's The Oriental Races and Tribes: residents and visitors of Bombay (2 vols, 1863-6), vol. I, no. 21. The same woman, posed in a similar fashion to this study, but with a different child seated on the chair, appears in Photo 1000 (4334). Although both photographs were clearly taken during the same sitting, the latter print, which was shown at the Paris Exhibition of 1867, is credited to Hurrichund Chintamon. The print probably also appeared in The Indian amateur's photographic album (unchecked). Full-length portrait of muleteer, posed at side of road. Full-length portrait of Mullem, wearing a head-dress. Negative marked up for cropping. Original and duplicate negatives only, no print. Full-length portrait of official posed with sword. (?)Copy print. Full-length portrait of priest standing by roadside. Full-length portrait of priest standing with two children. Full-length portrait of seated figure. Oval image, faded. 'He is from Yarkund, in Tartary, on a pilgrimage to ancient Buddhist shrines in India, subsisting on the charity Hindoos, and perhaps Mahomedans also. In his right hand is the usual cylindrical prayer rattle, and his left rests upon all his travelling gear, which ha has suspended to an iron frame; his crutch or staff placed above all. The cylinder in front contains a few rolls of sacred writings, and in the gourd he carries his water...' Full-length portrait of seated figure. Oval image, faded. 'The Jogi represented has scant clothing, and desires no other. His eyes arclosed, and he is teling his beads, repeating the names and attributes og God, on whom he is meditating. A fine powerful man, with an earnest expression of countenance; he has abjured caste long ago, and taken upon himself stern vows, which, in a steadfast faith, and heedless of privations and sufferings from pain, from cold, from hunger or fatigue, he will keep, as best he can, till he dies.' Full-length portrait of servant standing on verandah with pot of coffee. Full-length portrait of seven figures. 'The Baweeans are natives of an oisland on the north coast of Java, called Palo Baweean. In their own country they are cultivators of the soil, are fishermen, and carry on a small trade; but they are fond of migrating to adjacent countries in search of employment and wages. The annual arrival of Baweeans in Singapoor averages 1,000, and they readily find employment as coolies, grooms, and drivers...' Full-length portrait of soldier standing in courtyard, holding shield and wearing an elaborate head piece. (Tibet Past and present, p. 29). Full-length portrait of squatting figure holding sword. Full-length portrait of squatting Miri tracker, holding a shotgun.[Gelatin silver print, 77x103mm]. Full-length portrait of the child seen in print 38, here holding a cheroot. There appears to be no reason for calling the child a princess. Full-length portrait of the fmily, posed beside river. Full-length portrait of the man also seen in print 13. Full-length portrait of the three Akha women that were seen in print 39, plus a man. This photograph gives a much clearer view of their dress. Full-length portrait of the two men, one standing, one squatting, both holding jezails. Oval image, faded. 'The men represented are members of another clan of the Afreedees, named Sipah, which holds the lands north of the Kohat valley, and of Sherekote, in lower Meeranzaie. They do not differ in any material respect from other Afreedees, and enlist into the frontier regiments, where, under strict discipline, they make good soldiers. The figures in the present photograph are armed like preceding examples. Their long guns have much power, and carry like a rifle; in the Afghan war ordinary old musket had no chance against them as to distance, and the mountaineers proved to be excellent shots...' Full-length portrait of the two men, seated on the ground in front of a wall. The man described as a fakir holds a stringed instrument. Faded print. Full-length portrait of the two men, standing in front of a wooden-slatted house. Another copy of this print is at Photo 305 (97). Full-length portrait of three (?Shan) women, posed with baskets on their heads in front of the moat at Mandalay.[Albumen print, 190x245mm]. Full-length portrait of three convicts, all fettered. The central figure is also seen in print 130, the man on the right is the man from prints 131-32. Full-length portrait of three figures, seated on a small couch. The letterpress describes the Arains as one of the agricultural classes of the Punjab. Full-length portrait of three Kafir men. Full-length portrait of three Lahus. Full-length portrait of three males. Full-length portrait of three men, one holding a drum, one s pilgrim trident and the centre figure standing on one leg. Full-length portrait of three men wearing the cangue. Full-length portrait of three monks, wearing large, fur-trimmed hats. Full-length portrait of three Paharia women. Full-length portrait of three seated figures, the Nawab in the centre. 'The Nawab is seated in the centre, very richly dressed, wearing necklaces of pearls and emeralds. His name is Ghous Mahomed Khan, a Pathan, and the son of the celebrated Ghuffoor Khan, who was a distinguished general of Holkar's...The present Nawab is an intelligent and enlightened ruler. He understands and can write English, and he is very hospitable to all European travellers passing through his state.' Seated on either side are Mahomed Bashir Khan and Khan Jehan Khan. Full-length portrait of three seated figures. Two of the men, seated in attitudes of meditation, are smeared with ashes and clay. For another copy of this print, see Photo 993 (26). Full-length portrait of three seated men. 'The Chishtees are one of the most interesting Mahomedan tribes now in India, and are descended from the first Mahomedan settlers, who were Arabs...In Mooltan, the Chishtees are for the most part landholders and cultivators, though they affect austere religiousn lives. They are a peaceful, industrious tribe, settled on the banks of the river Sutlej; bigoted, very strict, and orthodox Mahomedans of the Soonnee sect, and more than ordinarily educated in the practice and doctrine of their faith...' Full-length portrait of three Tibetan men, one holding a book. Full-length portrait of three women. Full-length portrait of three women. Full-length portrait of three women posed in front of the verandah of a house. The Myelat was a collection of sixteen small states in the Southern Shan States. Full-length portrait of three women standing in front of a photomontaged background of a temple and trees. 'These women, as will be seen from our photograph, share in the vigour of their race. Their costume is of a modest and graceful character, and numbers of them dispense with the noselet, which of native ornaments is least admired by Europeans...We have illustrated the costumes of the women, both of the upper and lower classes (the latter being represented by the figure on the left), as being the most characteristic...' Full-length portrait of Turu, standing with his wife and two daughters. Full-length portrait of two Akha women in traditional costume. Full-length portrait of two Akha women in traditional dress. Full-length portrait of two Brahmin women posed on the steps of a house. Duplicate at Photo 140 (49), where the print is used in an issue of The Indian amateur's photographic album. This print is also used in William Johnson's The Oriental Races and Tribes. Residents and Visitors of Bombay (2 vols, 1863-5), vol. 2, no. 3, but with a different background superimposed. It is there titled Brahman ladies of the Dakhan. Full-length portrait of two Brahmin women posed on the steps of a house. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 11' and has a letterpress description. Another copy at Photo 150 (18). This print is also used in William Johnson's The Oriental Races and Tribes. Residents and Visitors of Bombay (2 vols, 1863-5), vol. 2, no. 3, but with a different background superimposed. It is there titled Brahman ladies of the Dakhan. Full-length portrait of two Chin girls posed in front of a tree. Full-length portrait of two couple, posed against photomontaged background of a temple and trees. 'The Chambhars...are workers and dealers in skin and leather. Another name by which they are popularly known is that of Mochis, or makers of shoes, sandals, and slippers. They rank low in the Hindu community, both on account of their race...and their occupation with articles which, according to the caste system, are ceremoniously impure.' Full-length portrait of two figures, holding various weapons, the man on the right wearing a head dress of buffalo horns. Full-length portrait of two Gond youths standing by the roadside. Full-length portrait of two Kachin women standing in front of a wooden fence. Copy print of a photograph by Felice Beato, reproduced in J. George Scott and J.P. Hardiman, 'Gazetteer of Upper Burma and the Shan States' (Rangoon, Part I, vol. 2, Rangoon, 1900, p. 276).[Printing-out paper, 98x142mm]. Full-length portrait of two Kota women. Illustrations for prints 434 and 436 have been inadvertently transposed. Full-length portrait of two Ladakhi men. Full-length portrait of two males. Full-length portrait of two men, armed with matchlocks: 'Well skilled in the use of arms, and with their desperate bravery, the Oosteranees could furnish a powerful contingent in case of any frontier war. At present, however, they are peaceful cultivators and graziersw, and, unless excited or tampered with, are not aggressive. Their costume, well displayed in the photograph, is a turban, tunic, and loose trousers of strong white cotton cloth; round their waists a scarf, usually blue or red, with ends of crimson silk, is used to bind on their powder horns and bullet bags, as well as to confine the leather sword belt, and holds a dagger or knife.' Full-length portrait of two men, kneeling. 'The lawless body known as the Rohilla marauders of the Deccan are either natives of the ridges adjoining Peshawur, or descendents of men of the same race who have taken service with the chiefs of the Deccan during troublesome periods. They are a turbulent and predatory race, sparing neither men nor women when in search of plunder...There are very few Rohillas to be seen in Berar; all having been turned out when the districts were assigned to the British Government. The two of which the above is an illustration, are settled near Amraoti. One is an old man, and the other is employed as a Jemadar in the Berar Police'. A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (398). Full-length portrait of two men, one carrying an agricultural implement. Carte de visite size print. Full-length portrait of two men, one standing, one kneeling. 'The Bhuttumees are a small and unimportant Pathan or Afghan tribe of the frontier. They are in many ways dependant upon the great tribe of the Wuzeerees [Waziris], by whom they are kept under, and support themselves by agriculture and grazing...' Full-length portrait of two men, one standing, one seated on a tree stump. Full-length portrait of two men, seated cross-legged. Oval image. 'The persons represented are men in comfortable circumstances, landowners and farmers.' Full-length portrait of two men, seated cross-legged against cushions. Full-length portrait of two men. The background, in the form of a rocky landscape with the ruins of a fort wall, has been painted onto the negative. Full-length portrait of two men in traditional dress, one standing, one squatting.[Albumen print, 96x136mm]. Full-length portrait of two men seated cross-legged on coir matting.[Albumen print, 106x118mm]. Full-length portrait of two men seated on a couch. 'This tribe or clan is purely agricultural, and is settled on the banks of the Ravee, in the Googaira district. They are also herdsmen and breeders of camels, cattle, and sheep. They ahve not, however, a good character, being treacherous, and notorious cattle lifters and thieves; but otherwise they are represented to be brave , and in many respects faithful...' Full-length portrait of two men talking in the street.[Gelatin silver print (modern print), 120x182mm]. Full-length portrait of two Naga men, standing in front of a tent.[Gelatin silver print, 80x133mm]. Full-length portrait of two Naga men standing in front of a tent.[Gelatin silver print, 134x83mm]. Full-length portrait of two seated men. Oval image. 'The persons represented in the photograph are five feet nine inches high, strong powerful men, and, for their station in life, are well dressed...They are good specimens of the industrial portion of the Mahomedan population, and both the clans [Ruth Dhoondees and Hootiyana Dhoondees] are in comfortable circumstances, disposing of their produce readily and at good prices in Mooltan and other large cities...The Dhoondee never seem to have taken part in any of the political movements or revolutions in the Punjab, and at present are loyal and well disposed, unaffected by the aggressive and fanatical spirit of the border tribes.' Full-length portrait of two seated Toda men, with background blocked out. 'There is probably no ancient tribe in India so interesting as these entirely isolated Todas, isolated alike by position as by ethnological peculiarity. As yet, however, they have baffled all attempts to assign them a place among the aboriginal tribes of India.' Full-length portrait of two Sonthal men, seated in conversation. Oval image. Reproduced as a lithograph , plate 29(a), in Edward Tuite Dalton, Descriptive Ethnology of Bengal (Calcutta, 1872). Full-length portrait of two Tibetan shepherds on a hillside. Full-length portrait of two women, one standing, one squatting. The same women appear in Photo 1038/4 (53).[151x166mm]. Full-length portrait of two women, one young, one old. Full-length portrait of two women, standing with water vessels carried on their heads.[Gelatin silver print, 86x138mm]. Full-length portrait of two women, with wicker baskets on their backs. Full-length portrait of two women. Full-length portrait of two women posed against a tree stump, against a photomontaged background of a temple. 'Photograph No. 2 represents two of the better class od Marathi Brahmanis. Their appearance is entirely that of the Aryan type. Their dress is rather more copious than that of their humbler sisters, the sadis or lugadis, in which they are invested, being larger and finer than those commonly in use. They both wear the nose-ring...' Full-length portrait of two youths. Duplicate negative only, no print. Full-length portrait of woman, standing in profile. Full-length portrait of woman seated on coir matting. This portrait is also used in Watson and Kaye's People of India: see Photo 972/8 (420), captioned Lambani woman. Hindoo. Mysore.'[Albumen print, 91x116mm]. Full-length portrait of woman standing in fields. Full-length portrait of young woman standing with open parasol.[Gelatin silver print, 55x78mm]. Full-length portraits, one seated the other standing. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. This print is published in The People of India London, 1872, Vol VI, No 303. Full-length portraits, two seated the other standing. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. This print is published in The People of India London, 1872, Vol VI, No 321-2. Full-length portraits. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. This print is published in The People of India London, 1872, Vol VI, No 332.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Full-length portraits. The Chief is seated holding a matchlock, his attendant stands next to him unarmed. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. This print is published in The People of India London, 1872, Vol VI, No 300.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Full-length portrait Full-length portrsit of two women, posed against a wooden fence, with a photomontaged backround of the Jabreshwar Temple at the Banganga Tank, Bombay. Full-length profile portrait of a man and a woman, posed as if walking, against a plain cloth backdrop. This photograph is also reproduced in Watson & Kaye's 'The People of India' (vol. 8, 1875), plate 429 (see Photo 972/8 (429)), there captioned 'Holeyas': 'The Holeyas are found in Coorg houses all over the country. They perform menial work for the Coorgs, to whom they belong as members of their domestic institutions. There are two kinds of Holeyas - the Kembati, or Kodaga speaking, and the Badgu, or Canarese speaking, Holeyas. They dress variously, but eat all descriptions of food, beef included...They are poor, ignorant people, some of good stature and robust constitution, but generally middle-sized men, of dark black complexion....The photographs are of Suba, and Ballajee, his daughter...'[Albumen print, 106x135mm]. Full-length seated group portraits. 'This designation is applied to Banias, and others, who being natives of Marwar in Rajpootana, have settled in Berar, and in other parts of India, as bankers, cotton merchants, and wholesale and retail dealers in grain. The more opulent are good looking, fair in complexion, and particularly neat in their dress, which consists of a muslin ungarka, dhooti, red puggri more or less bordered with gold thread, and a Delhi or Cashmere shawl of varying colors. Those photographed have nearly the whole cotton trade of the North Eastern portion of the Berar valley in their hands, and are said to possess large fortunes.' Full-length seated portrait, faded, of the chief of the Gundapur Pathans. Full-length seated portrait, full-face. Oval image. 'The gentleman here represented is a fine specimen of his class, a secular Brahmin, in the service of Government...The Pundit is, or was, tehsildar, or collector of revenue of the Roorkee district. He is a native of the valley of Cashmere; and, as will be evident from the photograph, his features are of the highest Aryan character - identical, in fact, with the European...Pundit Jowalla Nath is a person of essentially European mind...There is no doubt that educated natives of India, in the class to which the Pundit belongs, are increasing in numbers and in influence; but they can do little as yet, perhaps, to affect the ignorance and bigotry of their countrymen.' Full-length seated portrait, giving a good view of dress and jewellery. Full-length seated portrait, grasping a matchlock rifle. Full-length seated portrait, half-profile.. Full-length seated portrait, holding sword. 'Bharoo Singhji, Rajah of Rutlam, is a Rahtore Rajpoot, and has a grand, chieftainlike appearance, though in reality a man of diminutive stature for a Rajpoot, being only five feet three inches in height. He wears a turban, which supports a plume of feathers, and is covered with fine strings of pearls, depending from a rich central jewel, and other gold ornaments. About his neck also, and over his breast, are necklaces of pearls, rubies, and emeralds, with jewels dependent from them. His coat is of cloth of gold, his trousers of pink satin, and his waistbelt of red silk striped with gold tissue. He wears also heavy gold anklets, and his slippers are richly embroidered. The scabbard of his sword is also remarkable.' Full-length seated portrait, holding walking stick. 'The photograph represents the Kazee of Mysore, who was formerly a mutawalli, or subordinate religious officer in the city, but was promoted to the officer some years ago. He was also confidentially employed by the late Maharajah to convey messages to and from the Europeangentlemen connected with the Residency.He is a Syud by descent...He makes and registers wills, and decides caste or other disputes, as far as his authority extends...' Full-length seated portrait, showing caste marks. Full-length seated portrait, taken at Maheshwar between the end of May and 7 June. 'Personally Tukajee Rao Holkar is a most courteous prince, alike to his subjects as to the English around him; and were he as steady in his administrative capacity as his fine talents should make him, there would not be a more popular, or a more practically useful native prince in India, and this he may yet become by experience. He is much interested in education, and in his college at Indore instruction in English as well as in native languages is soundly imparted.' Waterhouse's own notes make clear his dissatisfaction with this portrait: 'I left Mundlaisir [Mandleshwar] on the 30th May and arrived the same day at Maheysir [Maheshwar], the residence of the Maharajah Holkar. I paid him a visit and arranged to take his portrait. Owing to the great heat my bath had got slightly out of order, and I found it difficult totake a satisfactory likeness of His Highness. After about twelve trials I had to be satisfied with one of the earlier plates, a not altogether good one, and had arranged that, having cured my bath, I should again try his picture, and also take likenesses of his Thakoors; however, when I got up next morning, and was preparing to go to the Palace, I was told that the Maharajah had set off for Indore in the night...' A further attempt to photograph the Maharaja at Indore in October was similarly thwarted by the sudden departure of Holkar (Government of India Foreign Consultations (General), July 1863, p. 35, IOR/P/205/4). Full-length seated portrait, with sons. Full-length seated portrait. 'Although of the very lowest caste of Hindoos, being considerd, in fact, Mlechas, or outcasts, Mochis are very useful members of the community at large in all parts of India. They make sandals, shoes, slippers, harness, and do leather work of all kinds. They are also tanners and curers of leather...' Another copy at Mss. Eur. G.91 (192e). Full-length seated portrait. 'Descendants of Govind still exist, who are termed Sodhees. They are reverenced as the descendants of the great teacher and military leader, and are supported by the voluntary offerings of the Sikh people at large; but they have neither the office nor sanctity of an hereditary priesthood, and though supposed to act as teachers, are for the most part an idle class, remarkable chiefly for profitless and dissolute lives.' Full-length seated portrait. 'Khadir Khan is the son-in-law of Kasim Ali Khan, commonly called the Benki Nawab, who was a commander of some note in the army of Tippoo Sultan, and one of his courtiers. He, with his family, was pensioned after the fall of Seringapatam, and the person represented, a respectable private gentleman, lives upon his allowance. He is a Sheik by descent, and holds the title of khan through his family. His hard and ruddy features and sturdy frame belong to the early races of Mussulman invaders, and are common to the south of India.' Another copy at Mss. Eur. G.91 (195d). Full-length seated portrait. 'Rajah Kissen Ram is a Khayet by caste. He rose from the lowest ranks of caucherry employ�s. He was under minister, and was much respected in Bhopal. He was very amiable and very industrious, and lately died, to the regret of all.' For another copy of this print, see Photo 355/9 (33). Full-length seated portrait. 'Shah Abdoollah is the head of a family which came from Medina in Arabia to India during the reign of Secunder Lodi, Emperor of Delhi, and have resided in the district of Goruckpore for several centuries. The title Subzposh (subz, green, and posh, dress) taken from the dress, is the distinctive mark of nobility, and is peculiar to all Syuds who are employed as priests, other classes wearing a green turban only. Shah Abdoollah is five feet six inches in height, of a dark complexion, with dark eyes.' Full-length seated portrait. 'She is of the poorer orders, and earns a scanty subsistence by spinning thread...The specimen of female selected is not a happy one, as many of the Jat women are remarkably handsome, with fine figures; but it may have been very difficult, nay impossible, to induce any respectable woman, except one of the very poorest class, to sit for her portrait...' Full-length seated portrait. 'The Koramas, or Korwas, as they are most generally called, are basket makers by profession, and also make mats from date palm leaves, very ingeniously plaiting the leaves into strips about four inches broad and sewing them together with the same material. Their basket work is coarse for the most part, but they occasionally make a finer kind out of palm leaves, which resemble those made in Egypt and Arabia, and are used for holding valuables, or for carrying clothes, &c., on a journey...' Another copy of this print at Mss. Eur. G.91 (192b). Full-length seated portrait. 'The Uppar caste is numerous in Mysore; they, with the Kunchittigars...are generally carpenters and masons, while some follow the occupation of salt making...They are Sudras of good caste...They do not indulge in intoxicating drinks, and, as a class, are very contented, industrious, and prosperous.' Full-length seated portrait. 'The very picturesque figure represented in this plate is a Dasare, a member of the Kunbi class, who has taken upon himself vows of poverty, mendicancy, and pilgrimages to holy places, and the service of God generally, in consequence of some vow. He wears a plume of peacocks' feathers in his turban, which is generally composed of portions of other old turbans of various materials and sizes. He has painted his caste mark in imitation of a Sri Vishnu Brahmin, while he has smeared his face and eyelids with white ashes, and probably the end or lower part of his nose is red with applied vermillion. Round his neck is a perforated copper plate, brightly polished, exhibiting an incarnation of Vishnu, a mounted conch shell, and a necklace of large wooden beads. A dressed soft panther skin is around his waist, which may serve for a seat or a bed at night, and a bell hangs at his waist, which tinkles as he moves along. In his hand, lying across his knees, is a long straight sword, with a Mahratta handle, and his dress is probably of quilted calico, dyed with the bark of the acacia to that dull yellow-brown colour, which is adopted by all devotees...' Full-length seated portrait. 'We present this photograph as it gives a fuller view of the peculiar costume of the women of this starnge and peculiar sect than any previously shown...The scarf thrown over the head, and hanging behind, conceals the high comb which is universally used to confine the hair tied in a knot. The strange long ear rings, intermixed with flowers and knots of hair, which hang down to the chest; the brightly emboidered and quilted bodice, which reaches to the hips and fastens behind; the ivory bangles, covering the arm from wrist to elbow, and from elbow to shoulder, increasing in size as they ascend; the large petticoat with its border of regular patterns in the brightest colours; and the various necklaces of beads, pieces of cornelian, or coral, and charms contained in gold, silver, or copper cases - all combine to form one of the most graceful of Indian costumes. Like most Lambani women the features of the woman photographed are hard and repulsive; but many of the girls and younger women are very beautiful, with deep Spanish colour, and superb figures.' Another copy of this print at Mss. Eur. G.91 (192a). Full-length seated portrait.[Albumen print, 98x138mm]. Full-length seated portrait. Oval image, some fading. 'This woman is a resident of the interior of Gurhwal, and by designation a Patar. The word 'Patar' involves no caste distinction: it is the Hindi term for courtezan or prostitute, but it is employed to designate those who, Mahomedans as well as Hindoos, are engaged in the service of Hindoo temples, or who have been specially devoted to the service of one of the Hindoo divinities.' Full-length seated portrait. Oval image. 'Brown eyes, complexion rather dark, black hair, light blue satin dress, edged with gold embroidery from Delhi, rich Cashmeer shawl, yellow turban; height five feet eight inches. Ram Persad is a Bukal and an Ugurwallah by caste, and a Muhajun or banker by profession. He is the richest native in Allahabad... Full-length seated portrait. Oval image. 'Kesarah belongs to the Hindoo caste called Nut, corresponding to the gipsies in Europe. Nuts are Hindoos of a very low caste, they will eat anything except garlic. Kesarah gains her livelihood by going about and dancing in the streets...' Full-length seated portrait. Oval image. 'Light brown eyes, black hair, very sallow complexion, dressed in a rich blue satin coat, with silver spangles, blue Cashmeer shawl, brown turban, and yellow Paejamahs; height five feet nine inches. The Pathans are Mussulmans of the Shiah sect, and come from Afghanistan; but the family of Ushruf Ali Khan has resided in Allahabad for upwards of a century...' Full-length seated portrait. Oval image. 'Man Kour is a Hindoo widow, of about twenty-five years of age, by caste Brahmin, and a resident of Hurdwar, chiefly living on the charity given her by the visitors...' Full-length seated portrait. Oval image. 'Rae Doona Chund is a native gentleman of the same Jain sect as Shadi Seth above alluded to [print 153], and, like him, is a banker and merchant of great respectability. In the year 1857 he proved his devotion to the British Government by eminently useful services, and the information which he supplied from time to time was of the greatest use in furthering operations against the rebels...The stern, resolute features of the individual, are an index to his course of loyal action, in the trying period in which he took so commendable a part.' Full-length seated portrait. Oval image. 'The person represented in the photograph is married; and is the wife of one of the bridge keepers on the Ganges Canal, near Hardwar, who is in the employ of the Government, and, therefore, in a humble but respectable class of life. Full-length seated portrait. Oval image. 'The priest is represented sitting at his devotions...In his right han he holds the wooden cylinder, which he rattle for prayer, and at the same time rings the bell in his left hand. Before him is a brass dish or platter in which are a brazier containing fire, and a cup of water...' Full-length seated portrait. Oval image. 'This photograph represents a Mahomedan bazar woman, or professional courtezan. Her dress is a yellow tunic, green silk trowsers, and red Cashmere shawl. There is little to be said for women of this class, who exist under many denominations all over India, and the nature of their profession debars description of them. Full-length seated portrait. Oval image. 'Zahore Begum is a Cashmere Mussulmani, and follows the profession of a courtezan. As may be supposed, her character is not very respectable. She belongs to the Soonee sect of Mussulmans. She has a very fair complexion, black hair and eyes; she wears a black silk dress and yellow shawl, diamond and emerald ornaments over the forehead and round the neck; a diamond ring on her left thumb, cloth shoes, embroidered with gold and set with precious stones, and her silver anklets have small bells attached to them.' Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. The figure on the right holds a curved horn. Full-length seated portrait. This portrait is also used in Watson and Kaye's 'People of India': see Photo 972/8 (416), captioned, 'Khadir Khan. Mussulman. Mysore', and with biographical note: 'Khadir Khan is the son-in-law of Kasim Ali Khan, commonly called the Benki Nawab, who was a commander of some note in the army of Tippoo Sultan, and one of his courtiers. he, with his family, was pensioned after the fall of Seringapatam, and the person represented, a respectable private gentleman, lives upon his allowance. He is a Sheik by descent, and holds the title of khan through his family. His hard and rugged features and sturdy frame belong to the early races of Mussulman invaders, and are common to the south of India.'[Albumen print, 94x128mm]. Full-length seated portrait a Bhadauria Rajput thakur, posed with a sabre laid across his lap. The Bhadauria Rajputs are a branch of the Chauhan clan, whose seat is at Bhind. Full-length seated portrait against a textile backdrop. The lady wears European lace-up boots. Another portrait of this woman, taken on the same occasion, can be found at Photo 92/4 (21): she is there identified as being 'undoubtedly a Danu'. Full-length seated portrait of a Bhuiya woman with a child on her lap. Full-length seated portrait of a Burmese abbot, holding a large palm fan. Full-length seated portrait of a Burmese youth, holding a long cigar in his left hand. He is posed to display the tattoos which cover the whole of his thighs to below the knees.[102x142mm]. Full-length seated portrait of a Coorg woman, with a younger woman and a young girl standing beside her.[Albumen print, 95x132mm]. Full-length seated portrait of a Danu lady of rank, posed in front of a textile backdrop. Another portrait of this woman, taken on the same occasion, can be found at Photo 92/2 (22), where she is identified as 'a Shan Princess'. Full-length seated portrait of a Dhair man. 'Dhairs, Chumars and Maugs. - These are the outcasts of India, the touch of whom is pollution to the majority of Hindoos. They are located in all the villages of Berar, and are employed in carrying letters from one village to another...'A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (400)). Full-length seated portrait of a man. He wears a silver casket slung round his neck containing a small phallic emblem. 'The Lingayets are ordinarymerchants, retail dealers, cultivators, and artizans. There are few families of rank which belong to them...The Lingayets do not possess any high standard of education, but in general are able to read and write, and understand simple arithmetic and book-keeping...' Full-length seated portrait of a man and a woman. Bowring describes the Medas as 'handicraftsmen and drummers'.[Albumen print, 105x135mm]. Full-length seated portrait of a man and a woman. Full-length seated portrait of a man dressed in white, wearing large puggree. Probably photographed at Ratlam. 'Among the Rajput tribes Brahmins have comparatively little spiritual authority; Charuns and Bhats are their ordinary priests, and they keep the records and traditions of the people...Theymust understand the rites of worship, particularly those of Siva and Parwati: they are taught to read and write, and the class who traffic, generally in camels and horses (the subject of the photograph is a horse dealer), are shrewd men of business...' Full-length seated portrait of a Maratha man. Full-length seated portrait of an elderly Gujar (pastoral tribe). Full-length seated portrait of a Pardhi man (nomadic hunters). Full-length seated portrait of a Pon priest, posed with various religious artefacts. Pon is the pre-Buddhist shamanist religion of Tibet. 'Hat of Chinese silk, gown of Chinese silk of various colours. On left is a prayer wheel in stand. Seated on mattress with table in front of him.' Full-length seated portrait of a village headman. Full-length seated portrait of a woman and her two children. The woman hold a large iron and a pile of pressed laundry stands on the ledge beside her. Full-length seated portrait of a woman of the Darzi (tailoring) caste with a young child in her lap. Some yellow staining on print surface. Full-length seated portrait of monk, with various religious objects laid out on chest in front of him. Bell's index supplies a more detailed description: '...Yellow hat on his head; bell, dorje, skull cap, skull drum, etc., in front of him. In the skull cap is tea without anything, e.g. butter, etc., added to it. In the bowl on the left are fruits which he eats. the staff at the side he uses when walking. It has a ring round it which he shakes when he reaches his destination, and, hearing this, people bring him food, so that he does not have to ask for it.' Full-length seated portrait of Nawab Moiz Mahomed Khan, an uncle of the Begum of Bhopal, and his young son Yaseen Mahomed Khan. 'These Afghans are a fine-looking tall race of men; they have remarkably handsome features, piercing dark eyes, aquiline noses, and a proud independent bearing. They are a very haughty, cruel, and vindictive race, and treacherous. The Bhopal Afghans have not in any degree lost the appearance or the character of their parent race, though the latter may have become somewhat softened by intercourse with Hindoos and English, but they are very bigoted Mussulmans. The Pathans of Bhopal are not distinguished by activity in manly sports or exercises;they are grown indolent and sensual, and their time is passed in eating, smoking, and sleeping. Owing to the dissipated lives they lead they are not very long lived...' Full-length seated portrait of Shah Jahan Begum's Nawab-Consort, the Bakhshi or paymaster of Bhopal. He died in 1867. Prints 392 and 394 have been incorrectly transposed. For another copy of this print, see Photo 355/9 (15). Full-length seated portrait of the Coorg man seen in print 235d, surrounded by five members of his family. This portrait also appears in Watson & Kaye's 'The People of India' (vol. 8, 1875), plate 426 (see Photo 972/8 (426)), captioned 'Coorgs': 'The group represented is of Mattana, Soobadar of Mercara, and his younger relatives...The dress of the Coorgs is becoming, and very well adapted to the cold and wet climate of the province. The men wear a long white or blue coat, held together by a red sash, in which the never-failing Coorg knife is inserted. The head is covered with a kerchief or turban. The weapons of the armed classes are a small and large knife and a matchlock gun, and their proudest ornament the medal given to them by the British Government for services rendered in 1837 [see prints 235a-b], when quelling an insurrection. In the photograph it is worn by the old Soobadar. The ornament of the young man is called Kokatadi, it is made of gold and jewels and may also be worn by females...The Coorg women are decently dressed. Over a white or light blue jacket is the blue or white sari, tied together over the left shoulder, and a cross bound red kerchief of good size, lightly knotted at the back, forms a pretty head dress. Gold and silver chains, ear rings, nose and finger rings, and bracelets, are the common ornaments...The admirable photographs of Coorg characters are by the Rev. G. Richter, of the Basil Mission, Mercara.'[Albumen print, 108x132mm]. Full-length seated portrait of the Pathan chief. Full-length seated portrait of the woman, seated on the ground amongst her wares. This portrait gives a good view of her head-dress. Full-length seated portrait of three figures, Foudjar Mahomed Khan seated in centre. Another copy of this print at Photo 355/9 (20) is captioned according to the corrected title above. This would seem to be correct, since it corresponds precisely with Waterhouse's own descriptive notes of the dress of Foudjar Mahomed Khan.(Government of India Foreign Consultations (General), July 1863, p. 45, IOR/P/205/4). There remains one further anomaly: while Photo 355/9 (20) describes the younger men as the sons of Foudjar Mahomed Khan, Waterhouse's description identifies one as 'elder son of Foudjar Mahomed Khan', and the other as the 'younger son of Faiz Mahomed Khan'. This is probably simply an error of transcription, since the family resemblance between the men is unmistakable and both wear identical clothing. Prints 392 and 394 should be transposed. Full-length seated portrait of two men, photographed at the Holkar's Palace at Indore, in failing light: for notes on the dress and physical characteristics of the sitters, and the circumstances under which the photograph was taken, see the table in Government of India Foreign Consultations (General), July 1863 (IOR P/205/14), p. 40; see also Photo 355/9 (14). 'In manners, Mahrattas are neither courtly, nor pliant and graceful like other natives of India; and consequently, though no means intending rudeness, they are bluff, homely, and outspoken, knowing and practising little of the fluent flattery so offensive in others; but they are kindly withal, and most hospitable where well known: generous too, always to the best of their means...In every respect we think that the Mahrattas evince more character than any other people of India, except perhaps the Rajpoots; and are at present some of the most useful and loyal subjects of the crown.' Full-length seated portrait of two men. 'Rungaries or dyers reside in all the towns of Berar, and occasionally in villages near which there is an abundance of running water. they live, as their name denotes by coloring cloth, either by contract, or by purchasing a quantity themselves, and retailing the same after it has been dyed...' Full-length seated portrait of two Toda women. Illustrations for prints 434 and 436 have been inadvertently transposed. Full-length seated portrait of two women in traditional dress, with servant standing behind. Not listed, apparently, in Bell's typescript index, but signed in the negative 'H.M.' Full-length seated studio portrait, holding a cane. Full-length seated studio portrait, with a scenic backdrop. Full-length seated studio portrait, with his son standing beside him. Full-length seated studio portrait. Full-length seated studio portrait. Full-length seated studio portrait. Full-length seated studio portrait of a white-bearded Pathan, holding a wooden staff. Original negative for this print held in Photo --. Full-length seated studio portrait of a young Vietnamese woman, with a large hat leaning against the chair on which she is seated.[Albumen print, 176x225mm]. Full-length seated studio portrait of Khan Bahadur Dustorjee Nosherwanjee, with three standing figures. Full length snapshot portrait. Full-length snapshot portrait of a shepherd standing on a hillside. Full-length snapshot portrait of a smiling Burmese girl, standing in front of the carved wood wall of an unidentified building.[Gelatin silver print, 57x78mm]. Full-length snapshot portrait of two women against a mountain background. One faces the camera, the other is turned away in order to display the conical wicker basket she carries on her back. Full-length standing portrait, against a plain backdrop. 'The subject of this photograph is a hill porter, who is represented carrying salt, which he has exchanged for the produce of his land.' Full-length standing portrait, holding a jezail. Oval image, faded. Full-length standing portrait, holding hands up to display wooden slabs. Full-length standing portrait, holding rosary. Full-length standing portrait, in profile. 'The subject of the present photograph was a Jat. He has left wife and children under an irresistible religious zeal, and, forswearing the world, has become a Bairagee. The broad trident of Vishnu is painted on his forehead...On his head is a tinsel crown, worn over a skull cap, instead of a turban; and on a bamboo pole, covered with red cotton cloth, upon his shoulders, decked with gay peacock's feathers and wild flowers, are slung two baskets covered with red or orange cotton cloth, which contain pots of Ganges water. He may have filled these at the great festival at Hurdwar, and is most likely on his way to Dwarka, in Goojerat, where he has made a vow to pour the contents over the holy image of Krishna worshipped there...' Full-length standing portrait, in profile. Small, square format print. Full-length standing portrait, in profile. Full-length standing portrait, in profile against a plain cloth backdrop (similarly posed to the figures in print 233c). Bowring describes the Yeravas as 'a wandering tribe, many of whom however were agricultural serfs' (p. 236).[Albumen print, 105x135mm]. Full-length standing portrait, in uniform. Full-length standing portrait, leaning on wooden staff. Full-length standing portrait, on the bank of the Tsang-po at Tse-tang. Full-length standing portrait, probably taken at Mandalay.[Albumen print, 199x264mm]. Full-length standing portrait, similarly posed to print 116. Photographer unknown, probably professional work.[70x121mm]. Full-length standing portrait, similar to print 553. Full-length standing portrait, smoking a pipe. Full-length standing portrait, smoking a pipe. Full-length standing portrait, with rifle. 'Prior to the summer of 1918 the native tribesmen had never been permitted to possess modern firearms. In June 1918, one month before this photograph was taken, the population, both Russian and native, had risen in revolt and overthrew the Russian Soviet in Askhabad. In desperation, the Russian leaders of the revolt distributed some 5,000 military rifles and ammunition to the local Turkmen, thereby creating yet another inflammable element in an already explosive situation.'[Gelatin silver print (modern print), 114x183mm]. Full-length standing portrait. 'In one hand he holds a brass-bound bamboo, containing long incense sticks, two of which he lighted when he walked round with us; in the right hand he holds his whip. In the leather loop of this he places a leather thong, when necessary for punishing the monks or keeping them back.' Full-length standing portrait. 'Mooshegaree comprises a collection of villages, situated at the southern extremity of the Johar pass, leading into Thibet, where the people profess a debased form of Hindooism, which is largely affected by the Buddhist form of religion.' Full-length standing portrait. 'No. 120 is evidently a person of higher rank, and is most probably a zemindar or landholder. His tunic is richly embroidered on the shoulders and breast; he wears an embroidered sword-belt, gold upon velvet; his turban is a shawl handkerchief, or muslin striped with gold. Rajpoots, both male and female, are fond of dress of the richest and gayest colours.' Full-length standing portrait. 'The subject of Plate 119 appears to be a substantial farmer, or, perhaps, a banker, by the thin gold chain about his neck. He carries his sword as the invariable appendage of a Rajpoot gentleman, which he never discontinues in public; and his plain suit of cloth, with brocade trousers and a shawl about his waist, form a costume at once simple and elegant.' Full-length standing portrait. 'The subject of this illustration belongs to a tribe of Brahmins of the Upper Provinces, who are known by the name of Thakoors: a title of respect. She is a good specimen of the women of her tribe, in appearance as well as in costume, which is of modern character.' Full-length standing portrait. 'The subject of this photograph is Niltoo, a coolie or hill porter, carrying milk. He is a Hindoo, and by caste a Rajpoot of low degree, resident at Gurwhal.' Full-length standing portrait. 'They are Soonnee Mahomedans, and the head of the tribe now holds the principality of Bahawulpoor, on the left bank fo the Sutlej, near the junction of that river with the Indus...They are by descent a peaceful and peace loving tribe, content with agricultural pursuiots, and, in many instances, following their original occupation of weaving...In general, the Daood Pootras are a tall strong race, with good features, though of somewhat dark complexion. They wear their hair hanging upon their shoulders in heavy masses, like the people of Beloochistan and Sinde...' Full-length standing portrait.[Gelatin silver print, 60x104mm]. Full-length standing portrait. A similar photograph of the same figure is reproduced in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 71: 'At Gyantse the counterpart of the Lugong Gyalpo is a strange figure, half-naked with sheep's intestines around his neck, a sheep's stomach over his head like a mask, and an exaggerated phallus below his waist. He is called Pawo Rolu, the hero corpse ransom.' This portrait by Macdonald was reproduced in his Land of the Lamas. This figure takes part in the Demon Ransom King Offering Ceremony, described by Richardson, pp. 61-71, who questions the scapegoat function of this figure. Full-length standing portrait. Duplicate at Mss Eur F157/324(7), there captioned Kavatsun Aka of rank'. The photograph was taken at Jamiri during the 'Aka Promenade' of 1914. Full-length standing portrait. Duplicate at Mss Eur F157/324(8), there captioned 'Miji Headman'. The photograph was taken in the Duppen area in February during the 'Aka Promenade' of 1914. Full-length standing portrait. Oval image, somewhat faded. 'This person belongs to one of the numerous tribes of Hill Rajpoots, few of whom are recognized by the tribes of the plains...The person represented belongs to the poorest part of the hills in the Gurhwal district...The staff he holds is used as an alpen stock, and is shod with iron in the form of a crutch or pitchfork, in which capacity, and to help him in difficult places, it is generally employed...' Full-length standing portrait. Oval image. 'Sook Narain belongs to the class of Brahmins called Misser, who are found almost all over India. Sook Narain is a high priest, and performs religious ceremonies for those who require his services...' Full-length standing portrait. Oval image. Full-length standing portrait. Probably employed as a porter and photographed during the crossing of the Nyima La (Bailey left the village of Lunang on 11 July). Full-length standing portrait. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 147, there titled, 'Tsyrin, Tibetan.' Full-length standing portrait. Reproduced in No Passport to Tibet, p. 32. Full-length standing portrait. Some offsetting of letterpress onto print surface. 'This photograph represents a man of the Kisan caste. They are Hindoos of low rank in the social scale, and devote themselves mainly to agriculture, rarely following any other profession...The costume of the figure represented is a small white turban, a mirzaee, or short jacket of cotton cloth, and a dhoti, or waist cloth, also of cotton. Over his shoulders he has cast his ruzzai, a light quilt of padded cotton cloth, printed in the country.' Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. The policeman is wearing a belt with a buckle bearing the inscription, 'Calcutta Police'. A truncheon with a royal crest hangs from the belt. Full-length standing portrait. The subject is facing right, his right arm resting on a pedestal. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. Full-length standing portrait. The subject is facing right holding a matchlock gun. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. This print is published in The People of India London, 1872, Vol VI, No 287.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002.Mounted and stored separately in Box 664, shelf 85E. Full-length standing portrait of a Buddhist monk.[Gelatin silver print, 120x177mm]. Full-length standing portrait of a Burmese beauty holding an umbrella, with three attendants. Probably photographed at Mandalay. Second copy neg at B.9372. Full-length standing portrait of a Coorg warrior, posed with a matchlock rifle against a plain cloth backdrop. This is the same man seen in print 235f.[Albumen print, 109x135mm]. Full-length standing portrait of a group of Wa women.[Gelatin silver print, 111x174mm]. Full-length standing portrait of a Kurumba man and woman, photographed a plain cloth backdrop. The photograph was taken in the same makeshift studio as print 191a.[Albumen print, 105x135mm]. Full-length standing portrait of a Kurumba man and woman, photographed a plain cloth backdrop. This portrait is also used in Watson and Kaye's People of India: see Photo 972/8 (430), captioned, 'Kurubars or Kurumbars. Primitive tribe. Coorg and Neelgerries.'[Albumen print, 107x135mm]. Full-length standing portrait of a Lhasa woman in traditional dress. Full-length standing portrait of a man, shading himself with an umbrella. Oval image, poor quality. 'The inhabitants of the Mirzapore Hills, which form portion of the north-eastern extremity of the great Vindhya range...are supposed to be aboriginal, and connected with the Sonthal, Cole, and other similar races. They profess, rather than practise, the Hindoo religion...They are of a mild and inoffensive disposition, of fair character, and attain an average longevity.' Full-length standing portrait of a man and a woman, posed against a plain cloth backdrop. The print has been torn in half and repaired.[Albumen print, 106x136mm]. Full-length standing portrait of a man and a woman, posed in front of a plain cloth backdrop. 'The principal other tribes [of Coorg or Kodagu] who speak Kodagoo are the Aimvokkaloo, cultivators of Mysore origin...' (Bowring, p. 236).[Albumen print, 105x135mm]. Full-length standing portrait of a man and a woman, posed in front of a plain cloth backdrop. This portrait is reproduced in Watson & Kaye's 'The People of India' (vol. 8, 1875), plate 428 (see Photo 972/8 (428)), captioned 'Hegades': 'Meder and his wife belong to a small cultivating class in Coorg, who reside at Jeddenal Kun Naad, in the south of Coorg, a place to which they emigrated from Malyalim some centuries ago. They are not more than fifty families in number, and are cultivators of the soil only. In dress, mode of life, and worship, they conform to the Coorgs, but are not acknowledged as equals by the latter, who will not eat or intermarry with them. In company with the Coorgs, the Hegades must sit on the ground, while the Coorgs occupy chairs. In appearance and complexion they resemble Coorgs, and their habits are the same. Meder is five feet three inches in height, and his wife is five feet.'[Albumen print, 105x135mm]. Full-length standing portrait of a man and a woman. '...Principally located in the Travancore province, and are evidently one of the aboriginal tribes belonging to the forest races of the south-western portion of the peninsula; not now wild, as they once were, but much reclaimed to settled pursuits, though they do not belong to any recognized class of Hindoo; and some of them, it would seem, have been converted to Christianity by the local missionaries. They were once slaves, but are now free...' Full-length standing portrait of a man and a woman. 'The male figure represented is Nar Singh, a private in the Malwah Bheel corps. He has been drilled, and has lost his original wild appearance. The Bheels of Jhabooa are, however, of an industrious class, cultivating the ground, selling grass, firewood, and jungle produce, and thus earning a decent livelihood...His wife, Chundi, is five feet in height; she is twenty years old, and is well dressed for her station; she wears a sari, printed blue and white, with an ornamented bodice, a dark blue petticoat of strong cotton cloth, with a scarlet border of a double stripe. Her legs, from the knees down to the feet, are encased in rings of brass, to the upper one of which...is fastened a string of bells, which tinkle as she walks, and she carries her child in a fold of her sari...' Full-length standing portrait of a man and a woman. Oval image. 'The Meenas are one of the aboriginal tribes which formerly, perhaps, peopled Rajpootana, where they still remain. They are found in Jeypoor, Joudhpoor, and generally all over Rajpootan; but it is only as one of the wandering races of the north-west that they are seen at Delhi...' See also Photo 972/7 (341). Full length standing portrait of a man and a woman with a child at their feet. The woman holds a saucepan and the man a sitar-like instrument. Full-length standing portrait of a man and two women, posed against a plain cloth backdrop. This photograph is also reproduced in Watson & Kaye's 'The People of India' (vol. 8, 1875), plate 425 (see Photo 972 (425)), there captioned 'Amma Kodagi, or Kaveri Brahmins': 'The person represented in the group are a father, mother, and daughter; they are Amma Kodagi, or Kaveri Brahmins. They belong to a smallset of Brahmins who reside in the south-western portion of Coorg, and are the indigenous and hereditary priesthood devoted to the worship of Amma, or mother, the godess Kaveri. Their number does not exceed fifty persons, and they are entirely unlettered and ignorant of Brahminical lore, of a quiet, inoffensive caharacter, performing a few ceremonies in connection with the worship of the holy river...The dress of the men and women is similar to the rest of the Coorgs. The Amma in the photograph wears a blue coat and turban, and a red sash, in which a silver handled knife is worn, with chains and tassels of the same material.'[Albumen print, 105x137mm]. Full-length standing portrait of a man armed with a spear. Oval image, some fading. 'The Ranghurs are a proud, turbulent, and domineering class of men; given to robbery, but not to theft; careless of money, and jealous of honour; and they are brave, and more to be depended on for good or ill than most castes...The famous irregular cavalry called Skinner's Horse, was raised in the Hissar province, and consisted chiefly of Ranghurs, who take service also among Rajpoot princes as horsemen; but they never serve as foot soldiers. The individual represented wears the undress uniform of Skinner's Horse. Full-length standing portrait of a man holding a bottle in one hand and a human skull in the other. 'Aghorpunts, or Aghorees, are a class of people who frequent the Ghats at Benares...They go about in puris naturabilus, with a fresh human skull in their hands (off which they had previously eaten the putrid flesh, and afterwards scraped out the brain and eyes with their fingers), into which is poured whatsoever is given them to drink...' Full-length standing portrait of a man holding a staff and a pot. 'Dundees, one of the sects of Hindoo religious devotees, are to be found in all places held sacred by Hindoos, especially in the city of benares. They hold no occupation, but pass their days in devotional exercises, and subsist on food voluntarily supplied to them by Brahmins...They are generally of a mild disposition and irreproachable character...They are bound always to carry a staff in their hands, and are recruited from the Brahmin and Chuttree castes.' Full-length standing portrait of a man in leg irons.[Albumen print, 33x95mm]. Full-length standing portrait of a man with a hawk on his arm.[Gelatin silver print, 76x100mm]. Full-length standing portrait of a Mishmi woman, smoking a large pipe. Full-length standing portrait of a Mishmi youth, holding his bow and with quiver and sword slung round his neck. The photograph shows good detail of clothes. Full-length standing portrait of a Monba man, holding a bow. Full-length standing portrait of an Abor man. Another copy (in better condition) at Mss Eur F157/484 (81), where the man is named as Nalum. Full-length standing portrait of an Abor man. Full-length standing portrait of an Afghan man.[Gelatin silver print, 82x133mm.]. Full-length standing portrait of a Naga man.[Printing-out paper, 24x67mm]. Full-length standing portrait of an Akha man. Full-length standing portrait of an Andamanese man and woman, posed in the same compound seen in print 13. The man holds a bow and arrows.[(?)Collodion printing-out paper, 109x154mm]. Full-length standing portrait of a Newar man. Full-length standing portrait of an unidentified man. Full-length standing portrait of a Rajput woman.[Gelatin silver print, 81x132mm]. Full-length standing portrait of a Shan girl standing in front of a palm-weave house. Copy print of a photograph by Beato.[Printing-out paper, 98x138mm]. Full-length standing portrait of a smiling Poba man. Full-length standing portrait of a toddy drawer, holding the earthenware pots in which the liquid is collected. The enlarged copy of this image at print 9 gives the site as Raigir XII rather than XI. The site has not been identified, but is presumably in the former Hyderabad State.[Silver printing-out paper stereoscopic view, 164x78mm]. Full-length standing portrait of a Wa man, with others of group in background.[Gelatin silver print, 138x192mm]. Full-length standing portrait of a Wa woman, with men and children squatting behind. Slightly unsharp.[Albumen print, 118x174mm]. Full-length standing portrait of a Wa woman, with other figures behind.[Gelatin silver print, 120x184mm]. Full-length standing portrait of a woman holding a child in her arms and with a wooden cradle carried on her back.[Albumen print, 168x208mm]. Full-length standing portrait of a young Burmese man.[Printing-out paper, 62x96mm]. Full-length standing portrait of a young Burmese woman with umbrella standing among pots in front of a wooden trellis. The same woman is seen in prints 114 and 122. Probably photographed at Mandalay. A portion of the print is missing from the bottom left corner where part of the album page has been removed.[Albumen print, 180x264mm]. Full-length standing portrait of a young Kaw man. Full-length standing portrait of a young man, holding a partially unsheathed sword. Full-length standing portrait of a young Poba woman. Full-length standing portrait of a young woman posed against a cloth backdrop. Photographer unknown, probably professional work.[72x130mm]. Full-length standing portrait of a youth and a girl, posed against a plain cloth backdrop.[Albumen print, 98x125mm]. Full-length standing portrait of couple. Full-length standing portrait of criminal in leg irons. Full-length standing portrait of dhobi with laundry bag. Full-length standing portrait of father and son. Full-length standing portrait of figure holding prayer wheel and rosary. Full-length standing portrait of four women wearing burkas. The words 'Cambridge Mission' are also written on the back of the print.[Gelatin silver print, 123x91mm]. Full-length standing portrait of Gesso, his gun slung across his shoulder. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 140: 'Much to my regret Gesso here [at Chang Chenmo] left me, saying he did not know the country I wished to go into, and must now go back and help his father to tend his flocks. A finer stalker, a better servant, or a more cheery companion I never hope to meet, and my sorrow at parting from him was very genuine.' Full-length standing portrait of man carrying a basket of charcoal on his back. 'This man is a resident of Gurhwal, by caste a 'Kolee', one of the lowest classes...' Full-length standing portrait of man holding musical instrument. 'Cotton hat, white cotton coat inside which is the ordinary white Nepalese chapkan or smock tied with waistband, the loose ends of which hang down to his knees. In his hands he holds a musical instrument (ektar) with a single string made of brass. Below is a small copper bowl for receiving the offerings made to him. On his right (seen over his right shoulder) he carries a small deer-skin about 3 ft. square which he uses as a seat.' Full-length standing portrait of man in circular cangue. Full-length standing portrait of Mishmi man smoking a large pipe. Full-length standing portrait of monk in rocky landscape. Full-length standing portrait of priest, holding woven sunshade.[Printing-out paper, 61x97mm]. Full-length standing portrait of the couple. 'He is the Mandal of Kalimpong village (block). His hat is of black velvet surmounted by red corals. The robe is of cotton in blue and red stripes. Below this is a white silk coat without sleeves. Below this is a shirt of cream colour with sleeves. Lepcha knife, of which the blade is 23 inches long, hangs on left side, of the same kind as print 33. Legs and feet bare. Girdle of Red Chinese silk; the ends of it hang down near the knife. The wife wears a multi-coloured hankerchief on the back of her head, turquoise earrings, according to Tibetan style, and round her neck a necklace of eight-anna bits. A long cloak of tussore silk silk, cream coloured, hanging down the back almost to the ankles, with loose sleeves. Inside this a black velvet coat with sleeves. Underneath this a long skirt of sea-green cotton cloth.' Full-length standing portrait of the headman, holding rifle. Full-length standing portrait of the Mishmi headman. Slightly unsharp. Full-length standing portrait of the Naga porter, carrying his basket on his back (with strap round forehead) and a spear. Full-length standing portrait of the smiling man. Full-length standing portrait of the three men. Full-length standing portrait of the two girls. Full-length standing portrait of the two men. Full-length standing portrait of the two men. Full-length standing portrait of the two postal runners. Full-length standing portrait of the young child, holding a long staff. Full-length standing portrait of three Marri men in chains.[Sepia-toned print, 166x225mm]. Full-length standing portrait of three men.[Gelatin silver print, 114x118mm]. Full-length standing portrait of three young Sindhi men. The title 'Shikarpur Chotes' is written in the negative, the remainder of the caption in the compiler's hand beneath the print. See also print 82. Full-length standing portrait of two Afghans. 'The plate gives a good idea of ordinary Afghans; strong, spare, sturdy men, handsome, yet with a peculiarly restless and wild expression of countenance...Many of the Afghans are as fair as Englishmen, with ruddy complexions, and blue or grey eyes, and their women are undoubtedly very handsome. A finer race indeed, physically speaking, does not exist...' Full-length standing portrait of two Beluchi men, armed with swords, jezails and shields.[Albumen print, 97x136mm]. Full-length standing portrait of two Burmese women.[Printing-out paper, 72x96mm]. Full-length standing portrait of two children. Full-length standing portrait of two costumed actors, posed in front of a makeshift cloth backdrop. Part of the same series as Photo 1038/1 (116-119).[Printing-out paper, 149x135mm]. Full-length standing portrait of two costumed dancers.[Albumen print, 127x200mm]. Full-length standing portrait of two Kachin women. The same women appear in Photo 1038/1(120).[Gelatin silver print, 150x204mm]. Full-length standing portrait of two Khamba men. Full-length standing portrait of two men, holding matchlocks: 'This tribe inhabits a wild portion of the mountainous country lying on the spurs of the Tukht-i-Suleeman mountain, just without the British boundary...The Sheoranees...as a tribe, are entirely independent, and have proved to be very troublesome and annoying neighbours for a series of years...' Full-length standing portrait of two men. 'The particular class photographed here belongs to the Hutteea Rajpoots, who refused to bow to the King of Delhi. Their chief occupations are military service and agriculture, and they are not migratory...They ar egenerally a warlike and sturdy race...' Full-length standing portrait of two men. Poor quality. 'An aboriginal race of Hindostan, called also Rajbhur, Bhurat, and Bhurpatwa. Their original seat is traditionally stated to have been the whole country from Goruckpoor to Bundelkund, and a tract in Benares is from them called Bhurdoi, corruptly Bhadoi....They are employed in the lowest vocations, and especially as swineherds...' See also print 84. Full-length standing portrait of two men and a young woman.[Albumen print.] Full-length standing portrait of two Shan youths, displaying their tattooed thighs.[Albumen print, 204x253mm]. Full-length standing portrait of two Toda men, standing in the open air. Full-length standing portrait of two women, one head-on the other with her back to the camera to display the wooden bucket or churn which she carries on her back.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Full-length standing portrait of two women. Full-length standing portrait of two women and a girl.[Gelatin silver print, 82x119mm]. Full-length standing portrait of young boy. Full-length standing profile portrait of a Naga girl, mounted on card as a cabinet portrait. With typescript inscription on reverse reading 'Naga Girl. Photo by Russal S.D.C., Hailakandi, Cachar.'[Silver printing-out paper, 98x144mm]. Full-length standing studio portrait, against a scenic backdrop. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait of a Burmese woman, holding an umbrella and posed in front of a painted woodland backdrop. This backdrop also appears in prints 50-52, and is seen in other portrait studies credited to Beato. Full-length standing studio portrait of a Ladakhi woman in traditional costume: this is a rear view, showing the head-dress, of the woman photographed in print 250. Full-length standing studio portrait of a Pathan girl. The original 12""x10"" glass negative for this print is held at Photo 627 (135).[Gelatin silver print, 211x288mm]. Full-length standing studio portrait of a young Burmese woman.[Albumen print, 185x254mm]. Full-length standing studio portrait of a young Indian woman. Full-length standing studio portrait of a young Pathan woman, probably the same figure seen in print 2.[Gelatin silver print, 213x286mm]. Full-length standing studio portrait of a young woman holding an umbrella. Photograph printed from a broken plate.[Albumen print, 182x247mm]. Full-length standing studio portrait of indifferent quality. 'Gungapootras, or sons of the Ganges, are Brahmins, who are specially devoted to the worship of the river Gunga (or Ganges), and are maintained by the alms they receive from bathers. They are not migratory, abstain from animal food, and subsist chiefly on grain and milk...' Full-length standing studio portrait of the three figures. 'Members of the three principal classes in Nipal are here represented. The short, square figure on the proper right [ie left as viewed] of the group is a Goorkha...The middle figure of the group is a Nipalese Brahmin, who, as descended from Aryan stock, contrasts strongly with the Goorkha, whose progenitors were Turanian aborigines...The third figure is a Sood, who represents the mercantile class of Nipal...' Full-length studio portrait, against a painted backdrop of a woodland scene. The man holds a long cigar in his left hand. Full-length studio portrait, against a painted backdrop of a woodland scene. The monk is accompanied by a young Chinese servant who holds an umbrella over him. Full-length studio portrait, mother holding long cheroot. Photograph credited to Beato on basis of studio backdrop, which occurs in several of his photographs. Full length studio portrait, with man holding rods, a basket and two birds. Probably the print listed in the Nicholas & Co. catalogue as '26. Bird seller'. Full-length studio portrait, woman holding long cheroot. Photograph credited to Beato on basis of studio backdrop, which occurs in several of his photographs. Full-length studio portrait. A very small image. Full-length studio portrait. Possibly a Scowen & Co photograph. Full-length studio portrait. Print unsigned, probably by Deen Dayal. Full-length studio portrait. Print unsigned, probably by Deen Dayal. Full-length studio portrait. Full-length studio portrait (taken in the same studio as print 70) of five Naga men, wearing characteristic headgear with boars' tusks. Full-length studio portrait group of two dancers and two musicians (all female). Print unsigned, but probably by Skeen & Co. Full-length studio portrait of a Brahmin examining a paper. Carte de visite size print. Full-length studio portrait of a Burmese girl performing a pwe. Although credited to Alves, this appears to be a photograph by Philip Klier. Full-length studio portrait of a Burmese woman dressed in an elaborate costume and holding a long cheroot. Photograph of a similarly attired woman at Photo 88 (53) is captioned 'Burmese dancing girl'. Photograph attributed to Beato on basis of studio backdrop which appears in several of his portraits. Full-length studio portrait of a Burmese woman holding a large cigar. Probably photographed at Mandalay.[Albumen print, 250x171mm]. Full-length studio portrait of a Chinese man and woman, seated in traditional costume at either side of a table on which rests an opium pipe. Full-length studio portrait of a dancer. Full-length studio portrait of a fakir holding an umbrella. Full-length studio portrait of a labouring girl, posed beside a tea bush and a wicker basket. Captioned on the reverse, 'A cooly woman, Darjeeling.' Full-length studio portrait of a man of the Sonar (goldsmith) caste, seated with a youth (probably his son) standing behind him. Full-length studio portrait of a Maratha woman. Full-length studio portrait of a Paloung woman holding a large cigar. Probably photographed in Beato's Mandalay studio. Full-length studio portrait of a seated girl playing an instrument like a recorder. A small guitar is placed beside. Painted backdrop of a rustic scene behind the sitter.[116x92mm]. Full-length studio portrait of a Shan man, wearing characteristic floppy-brimmed hat and carrying a spear. Probably photographed at Mandalay. Full-length studio portrait of a woman of the Sonar or goldsmith caste. Full-length studio portrait of a woman performing a pwe. Credited to Alves but probably the work of a professional photographer. Full-length studio portrait of a woman with two young children, posed against a rustic backdrop. Probably photographed at Mandalay. Full-length studio portrait of a young boy and girl, elegantly dressed. Full-length studio portrait of a young Nat girl, dressed in rags. Full-length studio portrait of the woman seen in print 38, holding a long cheroot. Photograph credited to Beato on basis of studio backdrop, which occurs in several of his photographs. Full-length studio portrait of two Jat men. Full-length studio portrait of two Karen women in traditional costume, one standing, one seated. Print unsigned, but probably by Jackson. This print also appears in C.A. Gordon's Our trip to Burmah (18..). Full-length studio portrait of two men, two women and a child. The men hold digging implements. The Woddas are described as a building and digging caste in Mysore. Full-length studio portrait of two women and a youth of the Wodda caste. Full-length study of a Kashmiri woman with a large wooden pestle and mortar and wicker panniers of grain. A commercial photograph.[Silver printing-out paper, 114x178mm]. Full-length study of a man and two women. Full-length study of a Nicobarese man, wearing a sarong and a straw hat, holding a spear and standing in front of a Union flag. Full-length study of two Mechi men, standing against a rock. Oval image. Full-length vignetted studio portrait. Funeral procession through streets.[151x107mm]. Fuul-length seated portrait. Gelatin silver print, 295x242mm]. General view, photographed with measuring rule. See Breeks pl. xliv(a) for plan of the cromlech. Pl. lxiii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). India Museum No. 1127. Duplicate of Photo 1000 (1158). General view. General view from an elevated position, showing monks and others grouped in large courtyard. The clown, some distance away, is marked by an 'X' on the print. General view looking towards the tent of the Karmashar oracle, surrounded by spectators. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 94-95, '15th Day: The Universal Incense-Offering.' General view of a hut-like structure made from wood and straw, decorated with animal skulls and topped by a carved headpiece (see Print 64). General view of a shop front. Definition of moodee unknown. General view of a Toda village. General view of camp. General view of cromlech group.[Albumen print]. General view of cromlech in clearing.[Albumen print]. General view of cromlechs, with rule to indicate scale.[Albumen print]. General view of crowds. Dasahara? General view of crowds outside a house. General view of dance in progress. General view of procession, from a high vantage point, during the Sertreng ceremony ('Golden Procession of the Assembly of Worship'). The images of the Kings of the Four Quarters - massive papier m�ch� figures - are being carried through the streets. This large ceremony involved a circumambulation of the Potala Palace. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 74-81. General view of standing stones, with sculptured slab inside. Pl. xlv of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1140). General view of standing stones, with sculptured slab inside. Plate xlv of James Wilkinson Breeks, 'An account of the primitive tribes and monuments of the Nilagiris' (India Museum, London, 1873). General view of the bed, probably at Varanasi. General view of the circle of dancers. General view of the elaborate pyre, with spectators gathered around. General view of Toda mund. Caption on print reads 'Toda Mund near Sylks [Hotel]'. Print unsigned but probably by Penn. General view of washermen at work. General village scene. General village scene. Ghee being clariied over open air fires. Girl at waterside carrying water pot on head.[54x80mm]. Girl posed at same location as print 63, also smoking a large pipe. Girl sitting in the chair of a type of ferris wheel. Girl sitting on a platform at the Sadiya auction shed. Girls performing a pwe at Pindaya, with the lake in the background. Duplicate print (with original negaive) at Photo 92/9 (319). Girls posed with wicker baskets. Giving a clear view of the construction of the coracle-like boats, which consist of yak hide stretched over a trapezoid wooden frame. Goat herd on a mountain path. Goldsmith blowing on his furnace through a tube. Photograph used as illustration no. 186 in vol. IV of The People of India (1869). Goldsmith squatting with his tools in front of a small furnace. He is blowing air into the fire through a thin metal pipe. Good view of loom, with Mech women and children grouped around. Group, mainly of children, posed for photographer. Group and man and children posed in front of house, eating melons. Group camped by the river. Group composed of four figures, two men and two women, squatting on the ground. 'The Wadaries or Indian Navvies, employed upon the Railway running through Berar, are believed to be descended from a Gond father, and a Mahratta mother...The Wadaries as a people have no fixed habitations, being dispersed all over the country in working parties under a headman. As laborers they are superior toall others, the whole of the cuttings, and banks of the G.I.P. Railway having been completed by them; their women, and children taking a share of the work, and working at night, as well as by day.' A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (405)). Group composed of two men and a woman, standing in a doorway. Grou pf three Naga men.[Printing-out paper, 58x68mm]. Group gathered round a kind of rath or chariot with towing ropes attached. Group gathered round camp fire. Group gathered round throne mounted on a platform beneath awning. Photograph taken during the 'Universal Incense Offering' Festival (Dzamling Chisang): see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 94-95. Group in a village. Group including bearers, ayahs, gardeners, cooks and syces. Group including musicians. Group in shackles. Group in shackles. Group in workshop, seated in semi-circle. Group mainly composed of women and children. The photograph appears to have been taken on the same occasion as Photo 92/6 (1).[158x112mm]. Group of (?Irula) drummers and dancers.[Gelatin silver print, 110 X 83 mm]. Group of (?Irula) drummers and dancers.[Gelatin silver print, 110 X 83 mm]. Group of Abor men posed for the camera. Group of Abor traders standing outside the pavilion. Group of actors/dancers and musicians posed in front of the Residency at Gangtok. Group of actors performing beneath awning draped over paved stage. Group of adults and children posed for photographer. This is the same photograph as part 283 (132) and may have been placed in this section in error. Group of Akha or Kaw men and women in tradition dress. A pencilled note on the reverse of the print reads: 'Men and women of the Kaw tribe - a semi-Chinese hill tribe. Observe the men's pigtails decorated with silver discs [?]brought round over the puggri. Also the highly ornamented [?]faceties and cap. The women's petticoat is wonderfully like a highland kilt, pleated at the back and plain in front, with the ends of a belt, embroidered and weighted with beads and cowries and [undeciphered], acting as a sporran.'[Printing-out paper, 122x162mm]. Group of a man and two women. Oval imageThe Sanseeas are here characterized as an itinerant criminal tribe, 'essentially outcasts, admitted to no other caste fellowship, ministered to by no priests, without any ostensible calling or profession, totally ignorant of everything but their hereditary crime, and with no settled place of residence whatever; they wander as they please over the land, assuming any disguise they may need, and for ever preying upon its people...' Group of Arab men and youths harvesting dates in a plantation.[Albumen print, 270x202mm]. Group of archers posed for the photographer. Group of armed tribesmen from an Afridi clan. Group of a young women. Group of Baiga men with bows and arrows. Group of Baiga villagers standing in front of their houses. Group of Baluchis posed for the camera in the bazaar. Group of Baluchis with their camels. Group of beggars, probably at Phari. Group of beggars beside a road in open country. The blind one, holding two staffs, appears to be being guided by a rope. Group of beggars on the highway. Group of Bhil men, posed with bows and arrows. Group of bhistis gathered on the Maidan. Stereoscopic pair. Group of bill collectors in a doorway. Group of bronzeware dishes and cups.[Albumen print]. Group of bronzeware dishes and cups.[Varnished albumen print]. Group of Br� and Padaung women. Group of Buddhist monks. Group of Buddhist monks posed with their food bowls at the base of a pagoda. Print unsigned, but probably by Felice Beato. Group of Burmese praying on the platform of a pagoda, probably at Mandalay.[Albumen print, 266x196mm]. Group of Burmese women and girls posed with water pots on their heads. Group of Burmese women in their finery standing in front of some sort of carriage. Print unsigned, but probably by Jackson. Group of captured dacoits under military police guard, posed in front of a bamboo stockade. Probably photographed in the Shan States. Faded print.[Albumen print, 252x200mm]. Group of carpet makers seated at work in front of a house.[Gelatin silver print, 123x117mm]. Group of children. Group of children. Group of children. Group of children. Group of children crowded in front of the camera.[Gelatin silver print, 141x92mm]. Group of children in a village. Group of children posed for camera. Group of children posed for photographer. A rather dark print. Group of Chins, with Europeans standing behind. Group of convicts in shackles. Group of convicts in shackles and prison jackets. Group of convicts in street. Group of coolies seated on ground in front of a Burmese house, with a cooking pot over a fire in the foreground.[Printing-out paper, 96x70mm]. Group of coppersmiths, posed to display various aspects of the manufacturing process. Faded print, numbered '58' in the negative. Group of costumed hillmen posed in front of the welcome arch at the Tukvar Sports, described in the accompanying paper cutting as 'a sort of Darjiling European and Native mutual Exposition, unique, I suppose, in India'. Original negative and modern copy print at Photo 527/2 (45). Group of craftsmen at work in front of the premises of Ganemade Papier mache makers, Srinagar.[Gelatin silver print, 123x117mm]. Group of cultivators and tent. Group of dacoits, guarded by two Indian soldiers. Group of dacoits posed in front of a bamboo palisade, their muskets heaped on the ground in front of them. Possibly photographed at Pakokku. Group of dancers, with musician in centre bamboo pipes. Group of dancers and musicians, standing in a line, men alternating with women. For another copy of this print, see Photo 92/9 (355).[173x120mm]. Group of dancers and musicians performing. Group of dancers and musicians performing before an audience in the courtyard of a palace. Women in purdah can be seen through bamboo screens at the top of the print. Photograph uncredited, but probably taken by Charles Shepherd. For another copy of this print, where the location is identified as Delhi, see Photo 28/2 (15).[Albumen print]. Group of dancers in a Chitral village. Stereoscopic view. Group of dancers in the open air. Group of dancing girls performing a pwe. With Queen Supyalat's private rooms in the palace in the background. The group performed before Prince Albert Victor on his visit to Mandalay, 26 December 1889 (see duplicate, with note at Photo 268 (4)). Group of Dogra men armed with flintlocks.[Albumen print, 83x96mm]. Group of eight Kirghiz men posed in front of a felt tent. Innermost Asia, vol. 2, fig. 365: 'Kirghiz anthropometrically examined at Kara-chim.' Group of eight masks. Group of eight men, armed with bows and swords. Oval image. Group of eight Nicobarese men standing in front of a Union flag. Group of eight seated and standing figures, with a montaged background of an archway revealing a distant seascape. 'The Nagur Brahmins form a numerous and influential class both in Goozerat and in Bombay, and occupy positions of trust and responsibility in mercantile and Government offices. They are generally considered men of talent and ability. In our group we have Vukeels (native advocates), schoolmasters, an accountant, bill and share brokers, and last, not least, a poet of some celebrity amongst the Goozeratee population of Bombay.' Group of entertainers with snakes and musical instruments. Group of female musicians posed with sitars and violins. Group of five armed men. Group of five Baluchis posed on the steps of an unidentified European building, probably at Quetta. The central figure is presumably Sarbuland Khan. Group of five Chin men. Group of five figures, seated on a fur rug. 'The Toree tribe occupy a portion of the Trans Koorum valley, bordering on the Wuzeeree possessions, and there are constant feuds between them. The Torees can hardly be considered proper Afghans, and their forbidding features and dark complexions point irresistibly to an aboriginal origin, which has been but little modified by time. Their character alsi is in accord with their appearance, and they are savage and ruthless, acknowledging no law, and notorious for their habits of plunder and robbery.' Group of five figures. Group of five men, aranged against a photomontaged background of step hillside and a (presumably railway) viaduct. The parties represented in our photographs belong to the more respectable classes of the Muhammadan community...' Group of five men, carrying spears, encountered while Chapman and Nepean were riding out to photograph the procession celebrating the return of the Regent to Lhasa. 'Here are a party of swarthy nomads from Kha, or the Hor states visiting the Holy City for the first time, to see the Potala and especially the shrine of the late Dalai Lama. They are dressed in rough sheep skins and the woman folk have their hair done in innumerable tiny plaits...They are doing the holy morning walk, a longish circuit round the Potala.' (Lhasa Mission Diary, 23 November 1936).[Gelatin silver print, 159x106mm]. Group of five men, posed against a photomontaged backdrop showing the Mahtar Mahal at Bijapur. 'The Mehmans...are converts to the Suni form of the Muhammadan religion, principally from the agricultural and mercantile classes of the Hindus of Kutch and Kathiawar...In Kutch and Kathiawar many of them are cultivators; but in Bombay, with the exception of a few who have acquired wealth and risen to the positions of shipowners and merchants, they are mostly shopkeepers and pedlars. The parties in our photograph are principally vendors of books, the comparative value of which they know only from the existing demand...' Group of five men, posed against a photomontaged background of Malabar Hill. 'In the island of Bombay and on the adjoining coast of the continent, from the Puna road to the Bankot river, there is a population of 'Bene-Israel' amounting to about 8,000 or 10,000 souls. In Bombay, with the exception of a few shopkeepers and writers, they are principally artizans, particularly masons and carpenters. On the continent they are generally engaged in agriculture, or in the manufacture and sale of oil. Some of them, often bearing an excellent character as soldiers are to be found in most of the regiments of native infantry in this Presidency...They denominate themselves Bene-Israel, or Sons of Israel...They have been settled in India for many centuries...' Group of five men, posed in front of a partially completed landscape background painted onto the negative. 'Slavery - though not now a recognised insitution in India - has left traces over many parts of the country of its existence at no very distant period. This is specially the case in Katheawar and Kutch, where we have a people who are only known there and elsewhere by names which imply a condition of slavery, and who form amongst themselves a distinct portion of the varied population of those provinces. These are the Golas, or, as they are sometimes called, the Khuwas, the latter term merely representing those who had attained to some better position in the household of their masters than that ordinarily assigned to members of their community. Descendants of women who had been purchased as slaves, these people still regard themselves as 'hereditary slaves', and are perhaps so regarded by a large majority of their neighbours...Those whom we have illustrated were amongst the personal attendants who accompanied the Rajpoot chief of Eidur on his visit to Bombay last year...' Group of five men, posed with nets, oars, etc. and grouped round an upturned fishing boat, against a photomontaged background of the Bombay waterfront. 'The chief of the Sona Kulis resides at Alibagh, his progenitors, doubtless, having been distinguished aids to the pirate Angria, in the immediate neighbourhood of whose fortified islet of Kulaba, that thriving town is situated. He is the person who wears shawl in our photograph. He is attended by a few of his boatmen. The spade form of the oar of one of them will be noticed. It is a specimen of the instrument of boat propulsion as used on the whole of the western shores of India.' Group of five men, suffering from goitre. Group of five men, three seated, two standing. 'These Brahmins belong to the Smarth, a Sivaic sect, and in nowise differ from others previously described. Theyare some of the priests who officiate at the celebrated temples of Mundhata, in the Nimaur province, to which pilgrims resort from all parts of India...Mundhata is an island in the Narbada (Nerbudda) river, and contains numerous temples, ancient and modern, including the great shrine of Oomkar, a form of Siva.' Group of five men, with a photomontaged background of local craft at moorings in Back Bay. 'The Kharavas are a clan of Kolis from Gujarat, deriving their name from Kharo, salt, in the making of which they engage themselves in their native country. Many of them are boatmen and fishermen. Within the present century numbers of them have settled in Bombay, where they are engaged principally as cultivators (by the hoe, pickaxe, and billhook), and as layers and turners of tiles used in the roofing of houses. Our group represents five of them in their working costume, with some of their usual implements of labour...' Group of five men. 'The figures represented are a havaldar of the Cucherry of the Nawab of Jowrah, the centre figure, and four orderlies, attendants upon the Nawab, when in cucherry. Almost all the Mussulmans of Jowrah belong to the military class, and for the most part are Pathans, who originally came from Rampoor with Ghuffoor Khan, the father of the present Nawab. They are usually called Deswanees, and have no particular distinction from the other Mussulmans of the country. Group of five men. Group of five men at Sadiya. Group of five mendicants, two men and three women, the men holding drums, bells and other religious articles. Faded print. Group of five men sitting in a garden? Group of five monks. Group of five musicians, seated on verandah of house. Group of five nuns. Group of five Parsi men, against a photomontaged landscape background. Group of five seated and standing figures, with a photomontaged background showing the north-eastern corner of the Banganga Tank and the Balaji and Siddheshwar Temples. 'We have here four pictures, in which Banians, as they are usually called, or Waneeas, as they are more correctly styled, are depicted. The first picture represents the Waneea costume of Ahmedabad, in the centre figure, with those of Surat on the right hand, and Gogo and the surrounding country on the left...' Group of five seated figures, with servant standing behind. Photograph taken in the camp of Mytab Singh at Bhopal. For another copy of this photograph, with a note of the circumstances under which it was taken, see Photo 355/9 (26). 'The central figure inthis group is Koonwur Mytab Singh, son of the Rajah of Nursinghur, and the others are dependents or associates. The turban of the figure on the left of the picture is tied, as will be remarked, in a strange fashion. The wearer is Oomed Singh Omud, and affects, from the style of his head dress, to be a 'dandy' or fop, of the first water.' Group of five seated figures, with three attendants standing behind. 'These are officers of the Seetamhow court. The third from the left hand is Maharaj Tukht Singh, the youngest son of the Maharajah, who is Thakoor of Chikla. No. 2 is Ruttun Singh Chowhan, Thakoor of Dupa Khera, also a relative: but there is no other record regarding these persons.' For another copy of this print, see Photo 355/9 (13), with additional notes. Group of five seated figures. 'The gentlemen who form the magnificent group represented by Lieut. Waterhouse, are officers in the service of Her Highness the Begum of Bhopal, G.C.S.I.; and their dresses are worthy of description...In the centre sits Bukshi Moroowut Mahomed Khan, who, as his title expresses, is generalpaymaster of the forces. He wears a purple turban with a jewelled ornament, a coat of cloth of gold (kumkhab), and a red silk waistband. On his right is Hafiz Mahomed Hussein Khan, Naib Bukshi, who is deputy paymaster, dressed in a richly embroidered green coat, red turban, silk trousers, and socks. On his right is Syed Oomrao Ali Risaldar, a commander of cavalry, whose dress is the same as the preceding, with the addition of a cross belt. On the proper left of the centrre figure is Mahomed Ali Khan, and on his left Meer Wahid Ali Risaldar, whose dresses, evidently uniform, are alike, green cloth coats, richly embroidered with gold. They are the principal officers of Her Highness the Begum's forces, and necessarily occupy distinguished positions at her court...two of them are Syuds, and three Pathans.' Group of five women, posed against a roughly sketched-in background of trees. 'The word Gosvami etymologically means a lord of cows...In the Prakrit languages it has been corrupted to Gosavi. Though the designation may be applied to respectable persons in general, it is principally bestowed on religious devotees...In this order there are women as well as men. The female devotees are Gosavanis in the Marathi language. In token of their professed oblivion of sex, they unite the costume of both male and female...The much wander about as pilgrims, and are exposed to great temptations...Our photograph represents them in their usual appearance and style of dress...' Group of five women, seated in a row on a carpet. Print made from a broken glass negative. Group of five women and five men. Group of five women with baskets of fish, posed against a background that has been largely blanked out apart lightly sketched distant hills. 'The Kuli fishermen of Bombay do not retail the products of their nets, but employ the female members of their families, especially the older ones, to dispose of them at the shores or at the fish markets established in different parts of the city...In our photograph they are represented in their usual working apparel...' Group of five young novices. A faded print.[Printing-out paper, 108x152mm]. Group of five young Pal� women in traditional dress. Group of four, two are seated. The caption 'Dufflas' appears faintly in the print. Another copy at Photo 680(1). Group of four (three men and a woman), all smoking pipes. Group of four actors (the three seen in prints 116-118, plus another), posed aginst a cloth backdrop. Unknown photographer, probably professional work.[160x123mm]. Group of four Bhutia men and women in traditional costume, photographed at Darjeeling. Faded and yellowing print.[Albumen print, signed 'Bourne 1904' in the negative, 292x241mm]. Group of four figures, seated on carpet. Group of four figures, with basket of salt. For other copies of this print, see Photo 792 (2819) and The People of India, Photo 972/7 (351). Group of four fishermen at work fishing for palla, with nets and earthernware floats. Another copy at Photo 940/1(31). Group of four girls seated at a low table rolling cigars. Group of four horsekeepers or syces. 'The men represented are evidently cleaning the saddle and accoutrements of some cavalry officer, and they are very careful in their work. Not infrequently Ghorawallas are dressed in smart liveries, and if not, are always cleanly dressed when they have to accompany their masters and mistresses in their morning or evening rides or drives...The men in the plate are...evidently of the very low caste of horsekeepers common to the Madras Presidency...' Group of four Indian figures. Group of four Irula men, posed in front of a thatched house with musical instruments and agricultural implements.[Albumen print]. Group of four Irula women posed in front of a thatched house.[Albumen print]. Group of four Korku men and a European, gathered round a table on which stands a bison's head. 'In the group represented they are in attendance on a great English hunter, who is exhibiting his trophy of a bison's head, and will be easily recognised by many.' For another copy of this print, captioned Korku trackers of the Satpura Range, see Photo 993 (28). Group of four Lushai women and children. Group of four men, armed with shields, swords and muskets. This photograph is used as illustration no. 199 in vol. IV of The People of India (1869). Group of four men, kneeling in front of wall. Group of four men, kneeling on the ground. 'The Jadoons are not British subjects, though they inhabit a portion of the district called Hazara. They inhabit a portion of the frontier below, that is south of the Hussunzye tribe, lying on the right bank of the Indus, and opposite to the British town of Torbeyla. Westwards their territory extends till it meets the higher ranges of the Hindoo Koosh.' Group of four men, posed in front of the wall of an unidentified building. Group of four men, posed on and beside a wall. The caption is taken from the copy of this photograph mounted in The people of India, vol. IV, no. 202, which reads: 'Mewattees, Mussulmans. Originally Hindoos. Delhi.' The letterpress describes this group as 'a fair specimen of the lower classes of the tribe, when without arms, and acting as farm labourers or in other menial capacity.' The photograph is titled simply 'Jats' in the Bourne & Shepherd catalogue. Group of four men, posed with agricultural implements. 'Though the Lodhas do not rank with the highest class of cultivators, they are yet a useful and industrious class, principally inhabiting Bhurtpoor, and other native states in Rajpootana and the North-West Provinces...The figure on the right is leaning upon the yoke of his bullocks, and the rope is intended for raising water...Lodhas are in general fine able men, hardy, and active; but they have not the best of characters, being often turbulent and thievish; some of them enlist as sepoys, and make good soldiers.' Group of four men, presumably porters, posed in camp in front of a tent.[Albumen print, 173x108mm]. Group of four men, seated in a semi-circle on a carpet. 'These also may be classed under the term Marwarrees. They are the same class exactly as those described before under that head; respectable merchants, bankers, and general dealers, flourishing in Holkar's busy capital of Indore. Their native province, Shekhawattee, is a portion of Rajpootana. From the caste mark on their foreheads, the persons represented appear to be of the Vishnuvite sect of Hindoos.' Group of four men, three seated, one standing, gathered round a basket of salt. 'The Golahs are a low class caste or tribe of Hindoos, but by no means one of the outcast tribes...the Golahs are professional salt makers, while they are also general cultivators; for it is only in the hottest weather that they can carry out their work as salt makers...In domestic customs and religion, the Golahs do not differ from the Jats or Goojurs in any remarkable degree...Their women are not secluded, and assist their families both in field labour and salt making. Baskets of salt are shown in the photograph, as also the strong hoe with which the salt earth is dug out....The Golahs are considered a gentle, honest class, and no habitual crime is attributed to them. As a rule they are very industrious, and are not migratory or unsettled...' Signed in the negative, Shepherd & Robertson, Photo. For other copies of this photograph, see Photo 15/10 (43) and Photo 792 (2819). Group of four men, two standing, two seated on charpoy. 'By the official description, the Sadhs appear to be rather a limited sect than a separate, since any Hindoo of good caste can enter it...They do not acknowledge any Hindoo incarnations or divinity, but profess to worship truth only as a deity...They are not abundant, and are confined to Futtehgurh, Benares, and a few districts of the North-West Provinces, and are not known in other parts of India...They have no temples or set places or worship; but what their particular tenets are is not generally known, nor are they desirous of giving information in regard to them...' Group of four men. Group of four men and women, standing in a field. Group of four men and youths.[Gelatin silver print, 110 X 83 mm]. Group of four men gathered round a hookah. Oval image. Group of four men posed against bales of cotton, and with a photomontaged background of Bombay houses. 'The Bhatias (or Bhatyas) are originally from the country of Bhatiner, between Sindh and Rajputana...Multitudes of them are now in Bombay, in which they form a very important portion of its diversified native community, being greatly distinguished for their industry and enterprise. Many of them, too, are found as mercantile agents in the seaports of the Red Sea and the Persian Gulf, and even of the coasts of Africa...They wear the tunic, zone, and pendant front-cloth common among the Hindus; but they are at once cognizable by their high and pointed turbans of printed cotton, with bright colours, which, contrasted with the head-dresses of many other classes of natives, gives them rather an imposing appearance...' Group of four men posed in front of the wall of an unidentified building. Group of four men with a small cart, against a blanked-out background. 'The cultivators of the Shudra caste are the most respectable of the converts. It is of them...that the two following photographs are illustrative. The men, it will be observed, have a modified European costume, of a rather sparse character. The dress of the females is not much removed from that of the native women. The men are best known in Bombay as the drivers of the carts of grass which every morning are brought for sale in the island. Group of four men with instruments.[Gelatin silver print, 78x52mm]. Group of four squatting figures, two men and two women. These were railway labourers on the GIPR. For another copy of this print, see Photo 993 (31). Group of four Swatis, a Pathan tribe. Group of four Tibetan women posed in front of houses, with man standing at left. Group of four Toda men, armed with bow and arrow, clubs and spear.[Albumen print]. Group of four trackers posed with a European figure around a table on which stands the head of a bison. 'They will follow the slightest track of the bison, somber, or bear, with astonishing readiness and certainty; and are seldom at fault, if the track they are followingis crossed at intervals by the tracks of other animals. No Korku however will assist in cutting up a bison when killed, believing it to be the wild bull. The Korkus are of the same race as the Gonds, but differ from them regarding the propriety of eating beef. The head in the photograph is that of one of the bisons tracked by them.' A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (404)). Group of four tribesmen, armed with rifles, posed on hillside. Group of four villagers. Group of four women, posed in a garden. Group of four women. Group of four women and two men, photographed in front of the posts of a substantial house raised on piles, probably the residence of the Myosa of Loilong. The same building is also seen in print 51. Group of four women posed against a tree stump, with a photomontaged background of trees. 'The Marathas of Bombay are either natives of the island, or settlers or visitors from the Dakhan or Konkan. The women of the island and of the Konkan are certainly the most comely of the tribe, and confine themselves more to domestic work and its comcomitants than their sisters from above the Ghats, who generally act as outdoor labourers. To the group represented in our photograph we would direct attention as pleasing specimens of the more domestic class...' Group of four women posed with large baskets of vegetables on their backs. Group of four women traders, seated on ground with bowls containing food for sale. Group of four young women. Stereoscopic pair. Group of Gaddis with a variety of musical instruments, including various kinds of drum, flute and horn. Group of girls performing a pwe. A good, clear photograph. Group of girls standing round a fire. The caption is unclear. Group of Gond archers firing at targets. Group of Grassias, posed with bows and arrows. Hobson-Jobson defines Grassias as land-owning cadets of ruling families. The glossary of Indian terms, for the use of the various departments of the Government of the East-India Company, gives a more derogatory definition, as that of land-holders who seized their property during times of anarchy in Gujarat: 'The claims are altogether founded in usurpation and violence, but custom has given them permanence and authority.' Group of Gujar girls in the mountains. Poor quality print. Group of Gujar women and children. Group of Gurkha women in traditional costume. Group of heavily bearded figures. Group of Heing Long and attendants posed in front of tent. 'Had the Heing Lon up after breakfast and catechised him. Been in charge 13 years succeeded [?]Min Pu and Pilu (after whom the villages and ford are named). Now got only 21 villages...Photographed him after the enquiry' (OIOC Mss Eur F278/6 f. 11). See also print 228.[Albumen print, 237x185mm]. Group of hill porters at rest. Group of hill porters carrying large funnel-shaped baskets. Group of horsemen preparing to compete in the mounted archery competition.[Silver printing-out paper, 142x83mm]. Group of house servants posed in a garden.[Albumen print, 188x152mm]. Group of hunter posed with bows and arrows and with their hunting dogs.[Albumwn print, 136x97mm]. Group of Kaw (Akha) men. The three central figures in this group are reproduced in J.G. Scott, 'Burma, A Handbook of Practical Information' (London, 3rd edition, n.d.), facing p. 100.[Albumen print, 238x190mm]. Group of Khasis in front of the Maharaja's small palace at Gangtok. Group of Kirghiz men and women gathered around Doris Skrine, who kneels in front of a medicine chest. The caption note continues: 'Note elaborate head-dresses of the ladies, which are peculiar to these valleys. They contain 30-40 yards of muslin and quantities of tassels amd embroideries as well. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 146). Sepia toned print, mounted on card with typescript caption.[308x229mm]. Group of Kirghiz posed in front of wall. Group of Kirghiz seated around food laid out on rugs. A photo graph evidently taken on the same occasion as print 8.[Sepia toned gelatin silver print, mounted on card, 304x228mm]. Group of Kirghiz shepherds with their flock on a hillside, with a yurt in the background.[Sepia-toned print, mounted on card, 308x200mm]. Group of Kirghiz women and children seated on the ground in a field. Caption note continues: 'Immediately my wife's tent was up at Suget (Qizil Tagh nr. Yarkand) these ladies came along from the only croft in the neighbourhood, sat down in front of the tent, took out their sewing and settled down to a good afternoon's 'tamasha'. The small lad has just acquired a beautiful cardboard cylinder which had previously enclosed a roll of quarter-plate film).' Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 132).[Gelatin silver print, 268x225mm]. Group of Kirghiz women on the grassy hillside.[Gelatin silver print, 224x280mm]. Group of kneeling women praying and burning incense on a platform of the Shwe Dagon Pagoda. Shrine with Buddha images in the background. Duplicate (in poor condition) at Photo 430/14 (91). Group of Kol women posed in the open air with baskets and picked flowers. The flowers are unidentified (?possibly crocuses harvested for saffron). Probably photographed in modern-day Bihar. Photograph unisgned, but probably no. 3039 in the Bourne & Shepherd catalogue. Group of Kota musicians and dancers.[Albumen print]. Group of labelled Kota artefacts, including domestic and agricultural implements, sickles, spears, pots, etc.[Varnished albumen print]. Group of laboureres? Group of Ladakhi men with baggage. Group of Lahu women. Group of Lahu women in the centre of a village. Group of laughing children. Group of laughing girls. Group of Lem women and girls in traditional dress and headgear. Group of loaded pack bullocks with their keepers.[Printing-out paper, 96x71mm]. Group of Lushai men, armed with rifles, posed on the raised verandah in front of a house.[Gelatin silver print (?copy print), 147x102mm]. Group of L� women in traditional costume. Typescript note on reverse reads: 'L� women, trading class. (Silver belts and chatelaines).' Group of man and four women and children. Tribal group unspecified. Group of masked dancers in courtyard. Group of masked dancers in guesthouse courtyard. Group of masked dancers posing for photographer. Group of masked devil dancers posed in court of monastery. Group of men, women and children, similarly posed to print 76, but on a different occasion. Group of men, women and children. Group of men. Group of men and women, posed in the the performance of a dance, their arms raised above their heads.[(?)Collodion printing-out paper, 156x109mm]. Group of men and women, the two women wearing their distinctive kite-like head-dresses. A similar portrait, evidently taken on the same occasion, is reproduced in J.G. Scott, 'Burma, A Handbook of Practical Information' (London, 3rd edition, n.d.), facing p. 95, captioned, 'Group of Tingpan Yao'. For Lady Scott's description of their dress, see Photo 92/2 (43).[Albumen print, 191x234mm]. Group of men and women. Group of men and women. Group of men and women. Group of men and women arranged for the camera. Group of men and women posed in front of grass hut and tent. Group of men and women posed on hillside. Group of men and youths with crocodiles, posed as if controlling the animals with wooden staves. The crocodiles are quite evidently stuffed specimens. A very faded print. Group of men armed with rifles posed on the verandah and in front of the building. Group of men at work. Group of men carrying baskets. Group of Mengs posed outside a thatched house. This print is reproduced in Scott's Gazetteer (part I, vol. I), facing p.597. Group of men in a walled enclosure. Caption taken from R.B. Holmes' catalogue 'General List of Photographic Studies and Views from the Studio of R.B. Holmes & Co, Photographers, 42 The Mall, Peshawar'. Group of men lined up each with a basket of rice on their back. Group of men posed on hillside. Group of men sitting at the roadside. Caption continues: 'We found, on enquiring from these Gonds, that they had voted for ""Gandhiji"" - ie for Congress (for Gandhi himself was not a candidate!) - put their ""tickets"" into the ""box with a bullock on it""'. Group of men sitting drinking tea. Although this print is unattributed it is probably, like the rest of the collection, by Bourne & Shepherd. Group of men standing by a catamaran. Group of men standing with spears behind the tiger. Group of men with spears. Group of metalworkers posed with brass Buddha images and other artefacts. 'The country behind, and to the north-west of the Salem Kyaung, is open, with small villages dotted here and there; in most of them dwell workmen skilled in brass, wool, and silk. Some of the images outside the most humble sheds are worth large sums of money. The fact thet they still keep making these large figures, shows the demand is not less on account of our occupation, and that good wages are easily obtainable.' Group of milkmen with their milk carried in barrel-like containers made from bamboo and slung over the backs of their horses. Stereoscopic pair. Group of Mishmis, standing in front of their houses. The main figures are identified as Irene, Bremson (headman of Bomjur), Bremson's wife, Dadu. Group of Mishmis houses. Group of Monba men and youths, with fishing nets. Group of monks, two with long trumpets, others with shorter instruments. Group of monks of various ages posed for photographer. Group of monks posed with musical instruments. Group of monks seated inside temple. Group of monks seated on ground, some wearing elaborate wide fur-brimmed hats. The Abbot of Dankhar is eated just right of centre. See description at print 28. Group of mounted polo players on polo ground. Group of musicians, with two masked dancers. Group of musicians and dancers.[Albumen print]. Group of musicians arranged with their instruments.[Albumen print, 226x162mm]. Group of musicians posed in clearing in front of trees. Group of musicians posed with drums, gongs and a trumpet-like instrument in front of a European building. Possibly photographed in the Darjeeling area. Group of musicians seated on ground, with an audience of children gathered round.[Printing-out paper, 141x97mm]. Group of Naga men, women and children seated in a semi-circle in a village. Faded print. With typescript inscription on reverse reading 'Naga Genna. Photo by Russal S.D.C. Hailakandi Cachar.'[Silver printing-out paper, 150x102mm]. Group of Naga men beating war drum, a large hollowed-out tree-trunk.[Gelatin silver print, 138x88mm]. Group of Naga men gathered round European figure, the nearest one holding his binoculers.[Printing-out paper, 122x81mm]. Group of Naga warriors. Group of Naga women walking along a road, carrying tall bundles of thatch on their backs.[Gelatin silver print, 126x82mm]. Group of Nepalese seated beside road.[Printing-out paper, 97x31mm]. Group of nine men and women. Oval image. Group of nine Pathans. Group of nine seated and standing men, all dressed in white muslin. Waterhouse's own notes state that these men are 'of Indore'. '...They are the same in character, in life, in occupation, in speculation, and it may be added, in extertionate transactions all over Malwah and Central India, as they are in the Deccan or wherever else they are met with. In Malwah they have opium to deal in, and can speculate as they please with Bombay, and make time bargains, their favorite mode of dealing. They make advances to village cultivators for the growth of poppy fields, and take the opium according to agreement, which is but too often extortionate. Every one complains of them, official reports are full of their hard practices with the people; and yet, where there are no local banks of banking operations, the people would perhaps do worse with out the Marwarrees...' Group of nine tribesmen. See notes with Print 1. Group of nobles seated beneath a canopy near the Trapchi barracks to observe the military review (Tsisher). See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 34-37. Group of nomads in front of a tent on the plain outside Lhasa.[Gelatin silver print, 156x103mm]. Group of novitiate monks posed at the edge of a banana plantation.[Albumen print, 84x71mm]. Group of nuns, posed beneath the same tre seen in print 16. Group of nuns posed in front of nunnery. Group of off-duty servants informally posed in front of a carriage. The two figures seated on the ground are playing cards. Group of Padaung women, wearing blankets and some holding babies. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 298, with caption note: 'Padaung cold-weather costume. The Padaung women, or K�kawngdu, as they call themselves, are remarkable because of the extraordinary collars they wear, and are taken down to Mandalay to be gazed at by the Great King of Righteousness and the dwellers of the palace. They have also been on showat all viceregal and less notable durbars.' Group of Padaung women. Group of Padaung women and children posed in front of a house. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, March 1922, pp. 293-321), p. 296, with caption note: 'K�kawngdu women photographed for the first time in their lives. Note the onlooker, with the solemn mien of a chaperon, standing on the platform. In Burma 'Her throat is like a swan' is not a mere poetic figure of speech, in so far as length is concerned.' In the body of the article, Scott comments on the difficulties of photographing people who had not previously encountered the camera: 'The taking of photographs was by no means an easy task in the earliest days of the British occupation. It was looked on as white magic, and the sight of the camera, and more particularly the focussing cloth, was enough to send all the women scuttling off into the jungle or into the black darkness of their homes...Perhaps no one is altogether free from self-consciousness when being formally photographed, but of these tribes the Padaungs are the least affected and the least unwilling to have their likenesses taken...' (p. 315). Group of Padaung women of various ages. Group of Palaung women. Group of Pal� women in traditional dress. Group of Pano women carrying water in lengths of thick bamboo strapped to their backs. For another copy of this print, see Photo 92/9 (35).[Gelatin silver print, 121x181mm]. Group of parents and children. Group of peasants on the bank of the Tsang-po at Tse-tang. Group of performers on the open stage. Group of players on horseback, with spectators in the background.[Silver printing-out paper, 141x84mm]. Group of porters beside path. Group of porters posed on hillside, with houses behind. Group of porters posed on hillside with their loads carried in wicker baskets. The letterpress identifies them as Niwars.[Albumen print, 135x96mm]. Group of porters resting at Pahlgam.[Silver printing-out paper, 103x75mm]. Group of porters resting beside path. Group of porters resting on hillside, their spears stuck into the ground. The print gives an excellent view of their wicker-work conical baskets. Group of pottery urns found in the Nilgiris.[Albumen print]. Group of pottery urns found in the Nilgiris.[Varnished albumen print]. Group of Powinda tribesmen posed for the camera. Group of prisoners under guard in front of a thatched hut.[Albumen print, 180x119mm]. Group of Rafai fakirs, seated in courtyard of the City Palace, Hyderabad, with skewers, swords and various other implements laid out on the ground in front of them.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 249x303mm]. Group of Rangrez or dyer caste at work. This photograph is used as illustration no. 183 in vol IV of The People of India (1869), where the location is given as Delhi. Group of rickshaw pullers with their vehicles on a Hong Kong street. Group of Sansia men. Group of seated Tibetan musicians. Group of servants posed in front of the verandah of the Buckingham's Amguri bungalow. Two European women holding children in their laps, are seated on the verandah behind.[Albumen print, 244x191mm]. Group of seven figures, arranged in two rows. 'The group...are of wild Bheels from Nimawur, Khandesh, and other parts of the wildest forest country, who were in prison at Mundhlaiser for an attack upon a police post; and this accounts for their being decently clothed, and having a more civilized appearance than they would have had in their wild state...The Bheels came under British rule after the final annexation of the Peshwah's dominions in 1818. Previous to that, from the earliest ages, they had been unconquered, free, and powerful. No one interfered with them, and no one checked them...Regular forces were sent against them, but with no effect; and the Bheels turned the efforts of the Sepoys into ridicule by robbing camps at night, cutting off stragglers, lundering baggage, cattle, and the like, with persistence...It was then that James Outram, Adjutant of the 23rd Bombay Native Infantry, conceived the project of raising men among them, to form a disciplined police...He went among them alone, gained their confidence and affection, and, in the process of time - a few months - succeeded in forming, with a few men of his own corps, the nucleus of a company. He feasted them, gave them liquor in abundance, was witness to their savage debauchery into which they often relapsed; but their savagery could not withstand the admirable perserverance of the young leader they now followed, and the wildest Bheels became regular soldiers, were drilled and disciplined, and led to the apprehension of their own brethren when the public peace was disturbed...The example of the Khandesh Bheel corps was followed in other places, and thus it happens that the Bheels' control is effected by themselves...' Group of seven men, five seated and two standing. '...The Bhorahs are an exclusively trading and mercantile class. They are never soldiers, cultivators, or artisans, but traders only; and, it must be confessed, are remarkably industrious and persevering: extremely orderly, peaceful, and enterprising...' Group of seven men. Group of seven men. Group of seven men and women, posed against a background which has been blanked out apart from lightly sketched-in foliage on the left-hand side. 'Many of them have entered the British Army, in which they make good soldiers, being often stronger and taller than men of the cultivator class. They make excellent hamals, or palanquin-bearers. A considerable number of them are in the service of Europeans...Considerbale numbers of them have embraced Christianituy in connexion with the different Missions in the west of India. The great majority of the converts of the American Mission at Ahmadnagar is composed of people of their tribe. The conversion of the Mahars, as of other classes of the Indian population, is attended by their social elevation.' Group of seven men armed with rifles. Group of seven musicians with various percussion and wind instruments. Group of Shan men, women and children posed in front of a small pagoda.[Albumen print, 115x93mm]. Group of Shans posed in front of the city wall.[Albumen print, 259x205mm]. Group of Shans wearing their characteristic wide-brimmed hats: 'These people came down from the Shan Hills with the 3rd Goorkha Regiment, carrying the baggage, and thus availing themselves of the escort, to visit Mandalay for the purpose of purchasing supplies...' Group of Shan warriors, wearing their distinctive hats and carrying trident spears, posed in the durbar camp.[Printing-out paper, 102x78mm]. Group of Shan warriors wearing characteristic wide-brimmed hats. Group of Shan women selling vegetables from wicker baskets. Group of six figures arranged around the stump of a tree, against a largely blank background. 'These people are separated from one another, according to the caste-system, at a considerable distance; but we group them together in this work as the examples of them which we have selected happen all to be engaged in Bombay in one occupation - that of writers and translators...In our photographic group the native gentleman leaning against the stump of the tree - Vinayak Vasudeva, Esq., J.P., the learned and able Oriental Translator to Government - is a Parbhu, as is his friend seated at his right hand. His two friends standing on his right hand are Sonars. Sitting near the stump is a Somavashna Kshatriya.' Group of six Indian entertainers. The girl seated in the centre is in the process of having her tongue pierced by a long needle. Group of six Indian men posed in front of a hut. Group of six men, arranged round the central seated figure, and posed against a photomontaged background of foliage. 'The principal Brahman castes of the Maratha Country are the Deshasthas and Konkanasthas...Of both Deshasthas and Konkanasthas our photograph presents examples. The two persons standing without support are Deshasthas; and so is the youth in the corner, with his eyes apparently shut. The others are Konkanasthas.' Group of six men, posed in a line. 'The tribe of Banra is the leading one amongst the Newars...The Newars, whose religion is Buddhist, select their priests from this sect; the Banras are not, however, prohibited from following other professions...They are skilful handicraftsmen. The greater part of them are to be found pursuing such trades as smiths, masons, carpenters, and tailors; they reside chiefly in the great towns of the Nipal valley, such as Katmandu and the ancient Newar capitals, Bhatgaon and Patun.' Group of six men, posed in front of Stein's tent. Innermost Asia, vol. 2, fig. 366: 'Roshani headmen at Saunab.' Group of six men.[Printing-out paper, 107x153mm]. Group of six men. Archaeological Reconnaissances, fig. 51: 'Tribal Tufangchis from Warawi.' Group of six men and women, posed against a background which, like print 17, has been blanked out apart from lightly sketched-in foliage on the left-hand side. 'In point of position the Mangs seem to be intermediate between the Mahars (or Parvaris) of the Maratha country and the Pariahs of the Madras Presidency...They make rops of twine and of the thongs of leather; and, when settled int he outskirts of villages, they act as village servants (watchmen, guides, holders and cleaners of horses, &c.), on which account they receive established dues and perquisites..' Group of six men and women, with a photomontaged background of Back Bay. 'Kumbhars...are the potters of India. In caste they ranks somewhat below the Shudras, or cultivators; but they have, nevertheless, a respectable position in the industrial community of India. In most villages (in the west of India, at any rate) they have an official connexion with the municipality, being obligated, on account of certain privileges and perquisites which they enjoy, to furnish earthen vessels on easy terms to the inhabitants, and to wait upon strangers, to supply them with water and the appurtenances for holding it...The Kutch potters are noted for the excellence of their work...Our photograph gives specimens of their men, women, and children, in their batter apparel, part of which they dispense with at the wheel or kiln...' Group of six men arranged around a tree stump, and against a photomontaged background of temple architecture. 'The personages represented in our photograph are Ramanandis of the division called Khakis, from their besmearing themselves with ashes. They have, with one exception, their hair folded in the form of what is called the jata, at first appropriated by the followers of Shiva. Their compeers are often seen in a state approaching to nudity, and even in that of nudity itself. The 'Nagas', or naked ones, are sometimes employed by the native princes as soldiers.' Group of six women, wearing characteristic dress decorated with metal roundels on the front. A commercial photograph.[Silver printing-out paper, 120x182mm]. Group of six women seated at the base of a tree. Group of six young boys seated on the ground in front of a doorway. Group of snake charmers performing. Group of soldiers, posed with matchlocks. A very faded print. Group of South Indian conjurors performing a trick. A duplicate print appears at Photo 447/3 (52), in an album of photographs mainly attributable to Hooper. Group of standing and seated Padaung women, with two men. Group of stone slabs carved with figures in relief.[Albumen print]. Group of street traders posed with wooden barrow. Group of tailors at work on a verandah, probably at Srinagar.[Silver printing-out paper, 100x75mm]. Group of tailors seated beneath a tree. Group of Taungthu women in traditional costume. Group of Taungyo women in traditional costume. Group of teachers and pupils. Possibly a Scowen & Co photograph. Group of ten Kirghiz men posed in front of a felt tent. Group of ten men. Innermost Asia, vol. 2, fig. 441: 'Ishkashmis anthropometrically examined at Nut.' Group of ten men. Innermost Asia, vol. 2, fig. 444: 'Roshans anthropometrically examined atKala-i-Wamar.' Group of ten men. Innermost Asia, vol. 2, fig. 445: 'Yazgulamis anthropometrically examined at Rokhar.' Group of ten men. Innermost Asia, vol. 2, fig. 446: 'Darwazis, from Wanj Valley, anthropometrically examined at Rokhar.' Group of ten men. Group of ten men and youths. Innermost Asia, vol. 2, fig. 443: 'Roshanis anthropometrically examined at Paghu.' Group of ten men from whom Stein collected athropometrical data. Group of ten men posed in front of a Kirghiz felt tent. Innermost Asia, vol. 2, fig. 439: 'Kirghiz anthropometrically examined at Bash-gumbaz, Alichur Pamir.' Group of ten posed male figures, two representatives from each of the following tribes (left to right): Irulas, Badagas, Todas, Kotas, Kurumbas. The group is posed in front of a tent, with a measuring pole at the side to indicate scale. Plate i (frontispiece) of James Wilkinson Breeks, 'An account of the primitive tribes and monuments of the Nilagiris' (India Museum, London, 1873). Group of tents with figures watching the photographer.[Gelatin silver print, 160x101mm]. Group of ten Wakhi men, with one figure displaying a card with the number 101: this relates the sitters to anthropometrical data collected by Stein. Innermost Asia, vol. 2, fig. 440: 'Wakhis anthropometrically examined at Warang, Wakhan.' Group of ten women from Pangi. Duplicate at Photo 430/30 (25). Group of the Paro Penlop's bodyguard in a courtyard of the dzong. Group of the traditional infantry seated on the ground. Group of three. Group of three. Group of three Abor men. Group of three ascetics. Group of three carpenters, posed squatting with the tools of their trade. Group of three children with birds and baskets. Group of three figures, posed against a photomontaged background of Parbati Hill, Pune. 'The principal personage represented in our photograph is Fattih Singh Bhonsle, the brother of the Raja of Akalkot, a large Jagirdar under the late Satara State. he is a young man of considerable activity, and was encouraged to stay in Bombay during the stirring time of the Great Mutiny. The other two persons represented in the picture are his Maratha attendants.' Group of three figures, seated cross-legged in pose of meditation, two of the men smeared with ashes and clay.A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (403)). Group of three figures, seated on a rug, with musical instruments: 'Mirassees, or minstrels, are not a reputable class of people, and are generally employed by dancing girls to play to them, when engaged to dance or sing at nautches...They are common in the district of Moradabad. They wear bright-coloured clothes trimmed with lace, and tinselled skull caps.' Group of three figures. Oval image. Group of three figures. Group of three figures posed around anvil and forge.[Albumen print]. Group of three figures posed with baskets of goods for sale. Very faded print. Group of threegirls. A good study. Group of three Indian women and two men, with baskets. Group of three kneeling figures (similarly posed to group on print 343), with attendant standing at left beside large hookah. '...Though the names of those represented in the plate are not given, we may assume them, from the Political Agent's Report, to belong to the nobility of the Bhurtpoor state...There is no doubt, from their appearance, that these Goojur sirdars are well provided for, as their very gorgeous costumes of cloth of gold (kumkhab) and embroidered velvet amply testify; their turbans also are of fine muslin striped with gold tissue. Fine, stout, burly gentlemen truly, with broad chests and strong arms, warriors, too, no doubt; in their degree they are at least the equals of the Jat sirdars previously illustrated...' Group of three Ladakhi men. Group of three Manipuri women.[Printing-out paper, 56x62mm]. Group of three men, kneeling on a carpet in front of a wall. Group of three men, posed against a photomontaged landscape background. 'The Bohoras, properly so called, are a sect of Muhammadans...Most of the Bohoras are pedlars, shopkeepers, and workers in iron and tin. Numbers of them, however - particularly in the district of Broach - are agriculturalists...The dress of the Boharas is generally pretty uniform; as far, especially, as the male portion of their community is concerned. The men generally wear plain white turbans, and angrakhas, or coats, and striped trousers. In the photograph they are represented in their ordinary dress...' Group of three men, posed with bows and arrows. Reproduced as a lithograph , plate 30, in Edward Tuite Dalton, Descriptive Ethnology of Bengal (Calcutta, 1872). Group of three men, posed with charpoy. 'The meos are another instance of Hindoos partially converted to Mussulman profession...The Meos are found for the most part in Mewat, a tract of country bordering upon Bhurtpoor, Ulwar, and Goorgaon, of the Delhi district. They are not migratory or unsettled...Their principal occupation is cultivating the soil, but they have not a good character in general, being addicted to thieving and cattle lifting...It will be remarked, perhaps, in relation to all the photographs of these half-converted tribes, that they wear the Hindoo dhoty, or loose cloth, instead of the Mussulman paejama, or drawers. In other respects the costume requires no remark: it is that common to all agricultural classes.' Group of three men, seated on the ground with the tools of their trade. Group of three men, two seated on a carpet, one standing. Oval image. Group of three men, two standing, one seated. Group of three men. Oval image. '...Two members of the order are given in the guise in which they usually appear, either when migratory as performing pilgrimages, or engaged in local practices of penance...The central figure may have been a Brahmin or Rajpoot, as he still retains the junwa, or sacred thread of the 'twice born', which hangs over his left shoulder...These men are fair specimens of the generality of Bairagis...' Group of three men. Group of three men (street traders), posed with baskets of produce. Oval image, faded. The youth on the left is the sitter in print 72. Group of three men and two women, posed beside a tree, and with a photomontaged landscape background. 'Waghurees are a low caste of Hindoos, most of them originally from Marwar; but who are now found wandering about in every part of Goozerat under various mendicant disguises, the most common of which is that of the Sadhoo. Their legitimate occupation is hunting or snaring game; when disguised, however, they follow the occupation of the mendicats whom they represent...The ordinary dress of the Waghurees, in their hunting capacity, is given in the accompanying picture...Numbers of them have been long settled in Bombay as beggars and street musicians; but it is from among the few who annually visit the island to dispose of the peacocks and wild fowls thay have snared alive that our illustration has been drawn.' Group of three men seated in front of house. Reproduced in No Passport to Tibet, p. 107, with caption, 'Pobas at Mipi. Group of three Monba youths, posed for the camera. Group of three musicians, the two standing figures holding horns, the seated man with a kind of drum. The two horn players also appear in print 41. Group of three musicians. Group of three Naga men.[Printing-out paper, 95x56mm]. Group of three Nicobarese men wearing European jackets and posed in front of a Union flag. In a copy of this print seen in a private collection, the sitters are identified as Captains London, Etoi and Johnson. (?)Possibly photographed on board a ship at Nancowry. Group of three seated figures, the centre one holding a stringed instrument. Faded print, numbered '62' in the negative. This print is labelled 'The Fortune-teller', but it has clearly been transposed with print 57. Group of three seated figures with attendant. '...The group here represented...depicts three persons of the upper class, sirdars or chiefs, sitting in a most respectful, but to them, truly uncomfortable manner, with their feet tucked under them, and their swords across their knees. They may be supposed to be seated in the presence of their Rajah, or of some greater person, yet they evidently hold, or at least, perhaps, the centre figure, considerable rank, as proved by the aftab-geer, or sunshad, which no one but a man of rank can have carried before him...The costumes of the three sitters are studiously plain, and are, perhaps, of quilted cotton and chintz, a favourite and necessary protection in cold weather...As the Official Report gives no description of this photograph, it is impossible to state who the picture represents; but the beauty of the plate renders it an interesting illustration of the fine tribe of Jats...' For another copy of this print, captioned Jat Sirdars, Bhurtpore District, see Photo 28/2 (17). Group of three seated Kashmiri women. Possibly a copy print of Samuel Bourne's larger photograph, entitled 'Mokte Jan, Sabie and Azezie.'[Albumen print, 83x96mm]. Group of three seated musicians. Caption note (handwritten and pasted to the back of the print) continues: 'In the midst is Jaighum Shah, a Court singer and player of reputation. The Chitrali melodies are singularly beautiful and the poetry shows much appreciation of nature.' Presumably photographed at Chitral. Group of three squatting figures. 'The Lobanas are a peculiar tribe of Hindoos who inhabit the Punjab, but are not very numerous. They speak a peculiar dialect of their own, which is not understood by others, and from that cause it may be inferred that they are descended from an aboriginal stock...' Group of three squatting figures. Oval print. 'The Mullahs form a special tribe of themselves, and, although Mahomedans, do not intermarry with other Mussulmans, except on rare occasions. They are found on all the rivers of the Punjab, and on the Indus down to the sea; and, though they have been converted, are probably little changed since the days of Alexander the Great...The centre figure represents a reis, or captain, perhaps owner of a boat, a respectable looking aged person, and his companions are two of his boatmen.' Group of three squatting men, the central figure with a hookah. Group of three Tibetan men: 'The middle one is a lad of 16; his hair is cut short, almost like a monk's; his coat is of dark red Tibetan woollen cloth, trousers of lighter red, and his boots of variegated Tibetan woollen cloth, red predominating, the ordinary villager's boots.' Group of three traders, posed with wooden barrow. Group of three weights.[Gelatin silver print, 76x50mm]. Group of three women, posed against a photomontaged background of hills. Group of three women, posed against a photomontaged landscape background. 'Our photograph represents individuals of the middle classes of society, in their ordinary dress, whichis of a much more modest character than that of many Indian females.' Group of three women, seated on ground with various utensils: one spinning thread, the other using a wooden churn of some sort. Group of three women, two of them engaged in turning a pot on a wheel, the third watching. With village houses in the background.[Albumen print]. Group of three women, two standing, one sitting cross-legged. Group of three women. Nawng Pa Le is featured in Scott's Gazetteer as a lake and village in Karenni (modern Kayah state), but has not been traced on modern maps. Group of three women. Group of three women. Group of three women and a baby. Group of three women Group of three young women. Group of Tibetans, sitting on the ground around cooking pot. Group of Tibetans brewing tea in a large metal vat. Group of Tibetans stirring a large metal pot. Group of traders seated at roadside with their wares. Group of trumpeters, surrounded by spectators, photographed during the Votive offering of the Twenty-Ninth Day: see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 116-123. This photograph (printed in reverse) is reproduced on p. 117, with the caption, 'The Zimchongpa rally on the morning of the 'Votive Offering of the Twenty-Ninth, the Gutor.' Group of twelve men: 'At Nut I...was able to utilize a day's halt in collecting more linguistic and anthropometrical materials concerning the population of Ishkashm.' (ii, 876). Group of two couples, posed against a photomontaged backdrop of the ruins of Bassein. The term agari, according to the letterpress, 'is applied to a class of Kulis, from their occupation in the production of salt, as well as the management of boats and other native vessels...They are generally better clothed than the common fishermen Kulis, but their style of dress is much the same as that of their compeers.' Group of two men, a youth and a child, posed against a photomontaged background of a view of Bombay. 'The Khojahs of the West of India are converts to the Shia form of the Muhammedan faith from the Hindu natives of Gujarat, Kathiawar, and Kutch, made principally within th elast three centuries...The central figure in our group is Nansi Parpia ('Old Nancy', as he is called at times), of shopkeeping celebrity in Bombay, whose kind, accommodating disposition is known to many of our British youths in the commencement of their Indian Career. His companion in the honours of the chair is the founder of one of the Khojah firms recently established in Bombay. In the elder of the two youths represented in our picture we have an excellent type of 'Young Bombay'. Every article of his dress bears unmistakable evidence of the anxiety of his class to assimilate the Oriental to the English costume.' Group of two men and three women, posed against a photomontaged bacground of the verandah and entrance of a house. 'The Dheds generally live in the exterior portions of the villages to which they belong, and are the drudges of all the other classes of the native community. Their touch, and even their shadow, are held to convey ceremonial defilement to the pure Hindu...Great numbers of the Dheds enter into the employment of Europeans in Bombay and Gujarat, especially as table servants, Masals (taking charge of the lights and dishes of the family), and as horsekeepers and coachmen...' Group of two monks and two young boys. Group of two women and a man with drums. Group of two young men and a child, posed against a photomontaged background of the Ambaranatha Temple. 'The Kamathis are the agricultural Shudras of the Tailanga country, the language of which, commonly called the Telugu, is their vernacular. Several thousands of them are settled in Bombay. They are (both men and women) a most active and industrious class of people in household, outdoor, factory, and building work...The parties represented in our photographs are fair specimens of their class. The circular turbans and earrings of the men will be noticed...' Group of veiled dancers performing a pwe. With part of Queen Supyalat's private palace in the background.These are Manipuri girls collected to dance before Prince Albert Victor on his visit to Mandalay, 26 December 1889 (see duplicate with note at Photo 268 (57)). Group of vilagers about to start rebuilding work.[Gelatin silver print, 98x78 mm]. Group of villagers. Group of villagers beneath trees. Group of villagers posed for camera.[Gelatin silver print, 98x78 mm]. Group of villagers posed for camera. Group of Wa children and youths posed for camera.[Gelatin silver print, 140x81mm]. Group of Wa girls and boys and an older man. Group of Wa spactators seated on hillside.[Albumen print, 174x114mm]. Group of Was squatting outside thatched houses. Group of water carriers filling their skins at a pool of water and loading them onto the backs of bullocks.Probably photographed at a railway construction camp. Other copies of this photograph at Photo 481/4 (10) and Photo 578/4 (85), where the location is given as Old Chaman and Quetta respectively. The Chaman/Khojak location is more plausible. A tightly curled print, with a portion missing from the bottom right corner.[Albumen print, 272x201mm]. Group of Wa women. Group of women, children and one man posed for the camera. Group of women, seated on the ground in a circle. 'They are drinking beer. A beer-jug, or iron, can be seen standing in the foreground on the left; a tea-pot, but also used for drinking beer, in the centre. The barley-flour they produce from the waistpouches of their dresses.' Group of women, some with baskets of rice on their backs. Group of women, their heads covered, standing in the open air. Group of women, two carrying bedrolls, walking along a road. Group of women. Group of women. Group of women (prisoners?). Group of women and children. Group of women and children. Group of women and children. Group of women and children in traditional costume. Group of women and children posed in front of thatched house. Group of women and children posed on and in front of the raised balcony of a Padaung house. For another copy of this print, see Photo 92/9 (352).[119x180mm]. Group of women and children with earthenware pots gathered round well. Group of women at work in courtyard. Group of women cutting grass at Chaubattia. Group of women dancing, with men beating drums. Oval image. Group of women in front of the verandah of a house. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 304, with caption note: 'These Sin-sin Karen ladies take a somber view of life. The hair of each is drawn through a bamboo ring and confined by a species of thimble at the top. The Sin-sin group do not insist on marriage within the clan, and the women have largely intermarried with the Taungthu, wear cotton coils round the waist, dispense with a petticoat, and instead of a brass rod wear a silver bracelet. Men, women, and children of this group are inveterate smokers, their pipes being made of dry bamboo.' Group of women labourers, apparently engaged in repairing road. Grou pof women posed for camera.[Gelatin silver print, 131x81mm]. Group of women posed on track, one holding a lamb. Group of women seated among piles of yarn. Group of women seated beneath ceremonial umbrellas. Group of women standing beside spinning wheels beside a river or canal. With a group of men breaking the coconuts at the left. Group of women wearing traditional head-dresses, seated around bowl. Group of young women posed in front of village houses. The location is presumably that listed in J.G. Scott's 'Gazetteer of Upper Burma and the Shan States' (5 vols, Rangoon, 1901) as 'Wun-bye. A village of five hundred and forty-two houses, three miles from Myinmu in the Myinmu township of Sagaing district.'[Printing-out paper, 150x110mm]. Group on horseback posed for camera. Grou portrait of Lur men, women and children. Group photograph, with abbot of the monastery seated in the centre. The monks hold various musical instruments including a pair of long horns. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 448x326mm]. Group photographed on the same occasion as print 22. Group photograph of (?Shan) myosa with his followers seated on the ground in a semi-circle. Group photograph of Minas, posed with rifles, bows and arrows and staves. Group photograph of Padaung women, heavily retouched in highlights for reproduction as frontispiece to Scott's Handbook. Group photograph of Wa women, with men standing in the background. The woman second from left in front row suffers from the goitre mentioned in the caption. Group portrait, photographed in front of a decorative textile backdrop. Group portrait, posed in front of palace. Group portrait, posed with his ministers in front of the haw. See also print 11. Group portrait, precise location unspecified. Group portrait, probably taken at Taunggyi in 1905. Group portrait, similar to the Bre women seen in print 18. Group portrait, standing in front of a thatched house. Group portrait, with two figures holding a hide as a backdrop. Group portrait: 'In this group, four gentlemen are of the rank which entitles them to chairs in the presence of an English officer. One of them, indeed, has been himself an officer of our Irregular horse, and his three medals show that as such he has seen stern service...'[Albumen print, 136x96mm]. Group portrait. See Karsandas Mulji, 'History of the sect of Maharajas, or Vallabhacharyas, in Western India' (London, 1865), where this group portrait is reproduced as a steel engraved frontispiece. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait against a backdrop of textiles. Group portrait in front of an unidentified building. Group portrait in front of thatched house. Group portrait of (?)Shans.[Albumen print, 240x180mm]. Group portrait of (Shan-Chinese?) family, posed in front of decorative textile backdrop. The print has been retouched in highlight areas, probably for publication. Group portrait of 13 Kol men and youths posed with bows and arrows in the open. Probably photographed in modern-day Bihar. Photograph unsigned, but the Bourne & Shepherd catalogue number 3038 can just be made out on the print. Group portrait of actors in costume. Group portrait of Andaman Islanders, posed in front of a thatched hut, with Maurice Vidal Portman standing in the centre. Portman (1860-1935) served in the Andamans from 1879-99, first as officer in charge of Andaman Homes, then as a superintendent. He was the author of several books on the history and culture of the islands and also the photographer of an extensive series of ethnographical portraits (see OIOC Photo 188). He is here identified by a pencilled note on the reverse of the print.[Albumen print, 180x111mm]. Group portrait of a Red Karen family, posed in front of a thatched house. Group portrait of a Shan family, posed on the verandah of their house. Group portrait of Bakhtiari chiefs. Some retouching to print. The following three figures are identified: Isfendier Khan (Ilbegi), Imam Kuli Khan (Ilkhani), Reza Kuli Khan (Hakim of Chehar Mahal). Group portrait of Champa men of Ladakh. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 159, there titled, 'Some of my Tartar yak-drivers.' Group portrait of eight girls. Faded and yellowing print. Group portrait of female labourers with children. Group portrait of figures also seen in Photo 92/2 (17). This print closes in on the wife of the unidentified ruler and the child beside her. Group portrait of five children against a studio backdrop. Group portrait of five Kamti men. The figure in print 95 is among the group.[Printing-out paper, 108x82mm]. Group portrait of five ladies. Good study of dress and jewellery. Group portrait of five Limbu men, armed with bows. This portrait is reproduced as plate 64, vol II of J. Forbes Watson, 'The People of India' (8 vols, London, 1868-75).[Albumen print, 269x194mm]. Group portrait of five White Karen men. Published (cropped) in Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 318, with caption note: 'White Karen traders. The man on the left wears the national thindaing (see text, page 317), the one on the right a hybrid European suit, and those in the middle the ordinary coat and trousers of the Shan.' Group portrait of four figures. Group portrait of four men, posed with agricultural implements. This print is reproduced in The people of India (vol 7, no.347), where the subjects are identified as Khan Zadas, a Muslim group from Rajasthan. The title given in the Bourne & Shepherd catalogue, however, identifies them as 'Jat Zemindars.' Group portrait of four men, posed with baskets of salt. For other copies of this print, see The People of India (vol 7, no.351): Photo 972/7 (351), and Photo 15/10 (43). Group portrait of four monks.[Gelatin silver print, 114x88mm]. Group portrait of Gaungto (Karen) women. Group portrait of Gurkha children. Group portrait of Karen group squatting in front of a tent. Group portrait of lepchas gathered in an open-sided hut at Darjiling.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Group portrait of Lihsaw men and women. Group portrait of Lushai tribesmen posed in front of a cane house. Group portrait of Maria dancers and musicians. Letterpress continues: 'The Marias are an aboriginal race inhabiting the eastern highlands of Chanda; they are passionately fond of dancing, and their dancing costume is very quaint. Peacock feathers, straw rope turbans and bunches of grass make their headdress, while bells hang from the back of their necks. Men and girls dance together. Maria girls do not marry till they are 15 or 16 years old. They are wooed and won just like English maidens. A Maria girl always leaves off dancing when she marries'. Group portrait of men and children of Car Nicobar, the most northerly of the Nicobar Islands. The central figure wears European clothes and several others in the group wear bowler hats. Group portrait of men and women of the Wodda caste. Group portrait of men and women standing in front of a thatched house. See Photo 92/2 (43) for a note on these Yao women, with their distinctive mortar-board like headwear. The same women also appear in that photograph. Group portrait of men of the Magar tribe, armed with bows. This portrait is reproduced as plate 66, vol II of J. Forbes Watson, 'The People of India' (8 vols, London, 1868-75).[Albumen print, 265x193mm]. Group portrait of monks, with the Abbott of Dankhar (also seen in print 30) standing in the centre. Several of the monks hold musical instruments, such as horns and cymbals: 'July 27th. I had summoned representative monks from each of the five monasteries of Spiti, in order to consult them regarding the proposed commutation of grain payments or tithes, and they were requested to come in full costume. To-day they arrived, forming a procession at the village, and marching up to my camp to the sound of barbaric music. The Chief Lambas, or Abbots, appeared in long yellow robes, with high conical head-dresses like mitres; the others, mostly with shaven heads uncovered, whilst some were got up in masquerade, with their faces concealed by a piece of cloth, huge carved wooden head-dresses, and robes or petticoats, extending to the ground. These advanced with a series of gyratory motions, reminding one of the clown on a hobby-horse in a pantomime. Others again bore musical instruments of various sorts. One fellow had a tremendous trumpet, requiring as assistant to hold up the end, and giving forth a rather fine base bellow. Others had small horns like the hunting-horn of olden days; others blew the conch, and even the Abbots had cymbals which they played with great vigour and effect. After photographing these groups we retired to my tent to discuss the commutation of grain rates or tithes...' (Egerton, p. 30). See also print 29. Group portrait of Padaung women. Group portrait of palace women posed in front of pagodas at Keng Tung. Group portrait of Riang men and women, posed in front of a thatched house.[Gelatin silver print, 122x172mm]. Group portrait of Riang women. Group portrait of seated and standing figures posed in front of a European building. The majority hold muskets. See Photo 355/1 (12) for a similar study of this group, taken on the same occasion. Photo 355/1 (11) also shows some figures from the group, posed with Captain Lewin. Group portrait of seven men. It is unclear what type of 'artists' are portrayed.[Albumen print, 242x205mm]. Group portrait of seven men. Group portrait of shepherds. Group portrait of Sholega men, some armed with rifles. Group portrait of six Banra men. This portrait is reproduced as plate 74, vol II of J. Forbes Watson, 'The People of India' (8 vols, London, 1868-75).[Albumen print, 263x193mm]. Group portrait of six dacoits posed in front of a stockade of pointed bamboos.[Albumen print, 208x262mm]. Group portrait of Taungyo and one Taungthu women. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 303, with caption note: Karen ladies posed for their pictures by an officious headman. The lady on the right [covering her child's face] is determined that the evil eye shall not fall on her infant. The taking of photographs was by no means an easy matter in the earliest days of the British occupation. It was looked upon as white magic (see text, page 313). One day a chief upon being invited to look at the focusing glass exclaimed, 'Why, they're all upside down!' The women took on a conscious attitude on the spot, and the men shifted their feet uneasily, all of them adopting a stained-glass attitude.' Group portrait of ten Gurung men, armed with kukri-like knifes tucked into their waistbands. This portrait is reproduced as plate 69, vol II of J. Forbes Watson, 'The People of India' (8 vols, London, 1868-75).[Albumen print, 269x194mm]. Group portrait of three boys in costume.[Silver printing-out paper, 107x184mm]. Group portrait of three men, slightly out of focus. Group portrait of tribesmen, posed with their weapons (jezails and rifles) in front of the fort. Possibly photographed by Baker & Burke during Lord Mayo's visit to the North-West Frontier. Group portrait of Turki women, with following identifications supplied on reverse: Mrs Rahim Khan (one of our orderlies); Aisha Khan (laundress and D.'s maid); wife of one of the dak runners between Kashgar and Misgar; wife (Kashgari) of Firuz-ud-Din, our Indian accountant; niece of Hafiz, one of our orderlies; Tartar girl from near Aksu brought back as his bride by a young Indian policeman we sent up to [?]Ito on secret service. Left with her husband for India last Monday; professional musician; professional dancer.[Gelatin silver print, 187x259mm]. Group portrait of two women and a man of the Sansi tribe, a hereditary vagrant or criminal class. Photograph used as illustration no. 195 in vol. IV of The People of India (1869). Group portrait of various races at Darjiling. Group portrait of women, posed in front of a thatched house. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 306, with caption note: 'The Zayein Karen women would be comely if they were less unkempt. The men of this clan shave their heads, except for a small patch over the ears, but the hair of the women is generally neglected. Washing the body is deemed an affectation. The inevitable coils of brass rods cover the forearms.' Group portrait of women. The Woddas were a building and digging caste. Group portrait of women and children on summit of hill.[Printing-out paper, 119x63mm]. Group portrait of women arranged in two rows: 'In the south-east of Tibet is the rugged country of Po, merging into the Himalaya. Its people are partly Himalayan, partly of the Tibetan uplands. They are a strudy, lawless folk, almost independent of the Lhasa Government, but greatly under the influence of the Holy City' (The People of Tibet, p. 177). Group portrait of women of the Wodda caste. Group posed among the tents of their settlement. Group posed at entrance to thatched houses. Tentative identification. Original and duplicate negatives only, no print. Group posed at mouth of cave. Faded print. Group posed at riverside. Group posed at roadside. Print in poor condition. Group posed beneath tree: 'Parties of strange, good-natured, Tartar-looking people were every now and then dropping in upon the Prince's progress, generally bringing rude offerings, but their best - yak's tails, goat's-wool caps, knives, pan boxes, or musk - sometimes, however, with the converse purpose of extracting something from his princely bounty. The Beschirs, men and women, were of those who came to give presents and homage, not to beg. One of the women was pronounced rather handsome.'[Albumen print, 135x97mm]. Group posed for camera.[Gelatin silver print, 131x81mm]. Group posed for camera. The women wear the traditional head-dress. Group posed for photographer. Group posed for photographer. Group posed for photographer in open air. Group posed for the photographer, displaying their forks. Group posed in courtyard holding bowls of food as a gesture of hospitality. For another copy of this print, see Photo 355/1 (101). Group posed in front of city walls.[Platinum print, 102x78mm]. Group posed in front of hut. Group posed in front of tent. Group posed in front of the same house seen in print 11. Group posed in front of the verandah of a house. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 299, with caption note: 'White Karen girls and children ... The White Karen women are much cleaner than their hill sisters, but unfortunately do not look nearly so alert. They reside in the main province of Burma and do not admit that the Red Karens are a related people. Note the primitive notched-log staircase.' Group posed in front of trees. Group posed in front of verandah of house at Kargilik (Ch. Yecheng). Group posed in the act of setting as trap using nets: 'The figure in the photograph has just set up his net for hares; and in fields or uncultivated places he would fasten one end of a long net to a bush while his wife would hold the other under cover, the middle being supported by sticks. He would then alone, or with companions, drive the game into the net, which, being but slightly supported, falls down upon and secures it.' Group posed near their dwelling. Group posed on hillside. For another copy of this print, see Photo 92/9 (270).[113x158mm]. Group posed on hillside. Group posed on monastery steps. Group posed on verandah. Group posed preparatory to act.Original �-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 257x310mm]. Group posed with musical instruments. One of the entertainers is in the act of placing a man trussed in a net, inside a basket, from which he will presumably escape. Group posed with plates, presumably in their dining area. Group posed with two large hawks: 'These hawks have been brought all the way from the Kushbegi's territory, possibly with a view to sale, more probably as presents likely to be acceptable to those whom it is judged politic to conciliate.'[Albumen print, 136x96mm]. Group posed with wares at the street front of a vegetable shop. Group posing for photographer. Group resting on a hill. Group seated against the wall of the fort. Group seated in camp amongst trees.[Gelatin silver print, 79x53mm]. Group seated in front of tents. Group seated on ground watching photographer. Group seated on ground with loom. Tents in background. Group seated on verandah, drawing patterns on paper templates. Group seated round fire in valley. Group selling melons at roadside. Group similarly posed to the women in print 304. Group sitting cross-legged. Group sitting in a semi-circle. Duplicate of Print 242. Group sitting on steps. Group sitting on the riverbank, a raft in the water. Group squatting in front of house. Group standing in front of yak hair tent. Group standing under a tree. Group taken on the same occasion as print 58. Group with bazaar in background. Group with bullock carts on a country road. Group with the Raja seated on the Gadi between members of his family and court officials, with three servants standing in the background. The Seetamhow family belong to the Rahtore tribe of Rajpoots. The central figure is the Rajah Maharajah Raj Singhji, whose age is between eighty and ninety; on his proper right is his son, Maharaj-ji Ruttun Singh, and next to him Bomharji Bhowani Singh, grandson of the Rajah. ...The two sitting figures on the Maharajah's left are ministerial officers...Lieutenant Waterhouse, in 1862, mentions also his great hospitality and kindness.' Group with wicker baskets gathered in front of Burmese house.[Printing-out paper, 96x71mm]. Groyp of dancers (some masked), performing the religious dance drama). Groyp portrait of some eighteen women, seated and standing. Gujars grazing cattle. Gurkha soldier, posed with his family in front of a thatched hut: 'A Goorkha regiment is stationed in the lines below. These Goorkhas, who fought so well in the rebellion of 1857, are residents of Nepaul originally, but most of them have their families with them.' (Egerton, p. 2). Gurkha soldier taking aim with a Wa cannon constructed from a wooden barrel reinforced with metal hoops.[Gelatin silver print, 139x81mm]. Gurkha woman cleaning pots. Half-length formal portrait. Half-length full-face portrait. Oval image. Half-length full-face portrait. Half-length full-face portrait of a man wearing a hat and holding a stave. Oval image. Reproduced as a lithograph , plate 24(a), in Edward Tuite Dalton, Descriptive Ethnology of Bengal (Calcutta, 1872). Half-length full-face portrait of a woman knitting. Oval image. Half-length full-face portrait of a young man. Oval image, some fading. 'Newar is the name of the bulko fht einhabitants of Nipal, the rulers of the valley before the Goorkha conquest, and are, indeed, believed to have been its first inhabitants. Their original country has not been ascertained, though the Tartar cast of their physical form, and the monosyllabic structure of their language, point to Tibet...' Half-length half-profile portrait of a Lepcha girl. Oval image. Reproduced as a lithograph, plate 24(b), in Edward Tuite Dalton, 'Descriptive Ethnology of Bengal' (Calcutta, 1872), with the following note: 'This beautiful specimen of a Sikkim Lepcha woman should have had a page to herself. It presents us with the finest type of the Mongolian physiognomy: a well formed head, features somewhat flat but with a good mouth, forehead and chin, and luxuriant hair. The Sikkim Lepchas differ materially from the Dhurma Lepchas.' For another copy of this print, see Photo 1228 (55). Half-length half profile portrait of a Rangma Naga man, holding a spear. Oval image. 'Naga is the generic term given (with various distinctive prefixes) to a series of wild tribes inahbiting a comparatively unexplored tract on the south-eastern borders of Upper Assam...The Rengma Nagas are a small tribe, consisting of little more than a dozen villages.' Half-length portrait, holding a musket. Half-length portrait, holding a pistol and a sword. Oval image, faded and with offsetting from letterpress onto print surface. 'Meer Khan, member of a family expatriated from Cabool for their fidelity to us in 1840-42...The Syud is a fine specimen of his race: a very powerful man, with a good expression of features.' Half-length portrait, oval image. 'Duleep Sing is an inhabitant of Morta, in the Meerut district, and a Thugga. Thuggas are Hindoos by religion, and are regarded as being the offspring of an illicit intercourse between a Brahmin woman and a man of inferior caste. They are a hardy and active race, and very good cultivators...Dulleep Sing is forty years of age, and of middle height. He is a landholder and farmer, and is in comfortable circumstances. His costume is handsome, and even rich...His features are regular, decidedly of an Aryan type, indicative of his descent, and also of a peaceful calling.' Half-length portrait. Half-length portrait. Half length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. The same youth is also portrayed in print 8. Half-length portrait facing right, holding a sword. Half-length portrait facing right, holding a sword in left hand. Half length portrait facing right and holding a staff. Half-length portrait of a 'gypsy' woman carrying her child in a sling. She wears a headdress apparently made from coils of rope. Ethnic group unidentified. Half-length portrait of a Bhutia girl. Half-length portrait of a Burmese woman holding a fan. Although credited to Alves, this appears to be a profeesionally-made portrait, possibly by Klier. Half-length portrait of a different villager from print 114. Half-length portrait of a forester at work. Half-length portrait of a girl. Half-length portrait of a group of three Wa men. Slightly unsharp.[Gelatin silver print, 195x138mm]. Half-length portrait of a Kambar Khel man, posed in the act of drawing a knife from a sheath at his waist. The Kambar Khels are a sub-division of the Afridis, numbering some 4,500 fighting men at the turn of the century according to The Imperial Gazetteer (vol. V, p. 69). Half-length portrait of a Kashmiri girl, showing her elaborate earrings. The photographer's stamp on the reverse, the name ending '-amatta', is not fully legible.[Gelatin silver print, 153x203mm]. Half-length portrait of a laughing boy.[98x120mm]. Half-length portrait of a male Andaman Islander, his head and body turned away from the photographer to show the (?)pack slung across his back. Half-length portrait of a man, probably a porter, in raged clothes. Half-length portrait of a man. Half-length portrait of a man. Half-length portrait of an ascetic. Half-length portrait of a nomad man standing in a mountain pass. Half-length portrait of a Rajput; oval image. Half-length portrait of a seated man examining a piece of cloth. Half-length portrait of a smiling Burmese girl, a small cigar between her teeth.[107x164mm]. Half-length portrait of a smiling child. Half-length portrait of a Toda man, his right arm held across his chest.[Albumen print]. Half-length portrait of a Toda woman, her right arm held across her chest.[Albumen print]. Half-length portrait of a woman, standing with her hands clasped behind her head.[Gelatin silver print, 81x120mm]. Half-length portrait of a woman. Half-length portrait of a woman. Half-length portrait of a woman holding a basket of friut on her head. Half-length portrait of a young hill girl. Half-length portrait of a young woman leaning on a window frame. Half-length portrait of a youth standing in a field. Half-length portrait of man holding jezail: 'He...with the ancient six feet jezail and long hair to match probably comes from the area bordering on Beluchistan, where long hair is traditionally a tribal fashion.'[Gelatin silver print, 60x107mm]. Half-length portrait of Naga girl with wicker basket on her back.[Gelatin silver print, 84x125mm]. Half-length portrait of smiling woman. 'Headdress is hand-woven cloth, yellow and soiled white of same texture as that of a Lepcha chadar. Earring of silver, necklace of stones with silver rings interspersed among them. One long necklace of four-anna bits. On chest a charm box (ka-u) of silver with turquoises set in it; just above it are four curved silver rings, and just below it is another somewhat similar silver ornament, but these lower rings are joined in one piece, while the top rings are separate from each other. Silver bracelets on wrist.' Half-length portrait of the left-hand figure from print 63. Half-length portrait of the man seen in print 16. Half-length portrait of the man seen in print 230. Half-length portrait of the youth seen in print 4. Half-length portrait of three figures. 'Note the comparatively short hair and the very short robe (chu-pa) of the Bhutanese. Half-length portrait of three girls.[Gelatin silver print, 153x104mm]. Half-length portrait of three women. An enlarged copy of print 45.[Gelatin silver print, 166x112mm]. Half-length portrait of three women. See enlarged copy of this photograph at print 69.[Gelatin silver print, 80x53mm]. Half-length portrait of two men, one of them a monk. Half-length portrait of two of the girls serving at the lunch party given by the British Mission to Tibetan officials (see note at print 201).[Gelatin silver print, 156x103mm]. Half-length portrait of two women (possibly Oraons) carrying babies in slings on their backs. Both these women also appear in print 942. Half-length portrait of woman wearing nose rings and large necklace. Half-length profile portrait of a man posed as if in prayer. Half-length profile showing hairstyle. Half-length quarter-profile portrait of a young man. Oval image, faded. Half-length seated commercial portrait.[Silver printing-out paper, 112x178mm]. Half-length seated portrait, background painted out. Oval image. 'Diljan, the 'heart of life', is, like Wuzeerun, a Mahomedan courtezan. Her dress is s black tunic, black silk trowsers, and Cashmere shawl.' Half-length seated portrait. Half-length seated portrait. Half-length seated portrait. Half-length seated portrait. The letterpress states that 'The official record is silent on the subject of this person; and it can only be presumed that he is one of the Thakoors or barons of the small state and court of Sillana, who is in nowise remarkable'. Waterhouse's notes, however, state that he is a 'Rhattore Rajpoot' and that 'this photograph was taken at Sillana during the month of March 1862. Owing to the habit the Rajpoots have of eating opium in large quantities, I found that most of my pictures of Rajpoots were more less indistinct, which circumstance I attribute to that practice. The belts worn by this Thakoor are worthy of notice' (Government of India Foreign Consultations (General), July 1863, p. 39, IOR/P/205/4). For another copy of this print, see Photo 355/9 (34). Half-length seated portrait of a Tibetan woman. Half-length seated portrait of two Momund chiefs; faded. Half-length seated profile portrait: 'The man...with the long out-moded flintlock weapon is a good specimen of Usterani clansman.'[Gelatin silver print, 63x108mm]. Half-length snapshot portrait. Half-length snapshot portrait of a girl carrying a load of straw. Half-length snapshot portrait of a smiling girl. Half-length snapshot portrait of a young girl. Half-length standing portrait, with body painted with devotional marks. Oval image, with some fading and offsetting from letterpress on print surface. Half-length standing portrait. '...dressed in short coat (stod-thung, i.e. short upper), of dark red Tibetan cloth and red Tibetan trousers of the same material (gos thung). Below this he is wearing Tibetan red boots [not visible], worn by ordinary villagers. Hat of thick felt, light grey in colour, and lined with fur. He is the son of a villager on the Pa-lha Estate (Pen-jor Lhun-po) near Gyang-tse. Age 22 years (Tibetan reckoning)...' Half-length standing portrait of a Kamti man, wearing a broad-brimmed hat and holding a sword.[Printing-out paper, 75x107mm]. Half-length studio portrait of a young Bhil woman. Half-length vignetted portrait of two men. For another copy of this print, see Photo 993 (9): this latter print is a much clearer portrait, showing the whole body of each man. Half-profile of left side of man seen in prints 22-25.[Sepia-toned bromide print, 229x307mm]. Hand-coloured albumen print. Posed group of female dancers. Hand-coloured albumen print. Hand-coloured print showing an umbrella maker at work. Hand-tinted print. Group of men holding up a carpet: '...the home of those most attractive of all oriental carpets, - the richly coloured 'Merv Tekke', popularly, but erroneaously, known as 'Bokharan' rugs.'[Gelatin silver print, hand-coloured, 102x79mm]. Head and shoulder half-profile portrait. Oval image, faded. Head and shoulders, full-face portrait. Head and shoulders, full-face portrait of an Andamanese man. Head and shoulders, full-face portrait of an Andamanese man counting by rubbing his forefinger against his nose. Duplicate of Phot 188/7 (23), which see for descriptive notes. Head and shoulders, full-face portrait of an Andamanese woman (a widow), her hair decorated with (?)caked mud. Duplicate of Photo 188/7 (16), which see for description. Head and shoulders, half-profile portrait of an Andamanese man. Head and shoulders, portrait of an Andamanese man, in the act of eating pig. Duplicate of Photo 188/6 (3), which see for description. His face is decorated with a series of white lozenge-shaped marks painted in a curving line from hairline to chin. Head and shoulders full face oval portrait of a Kuruba man. Head and shoulders full-face portrait. 'They are largely enlisted in the Nipalese army, and are excellent soldiers, having formed a considerable portion of the Goorkha regiment enlisted by Sir C. Napier in 1850...' Head and shoulders full-face portrait. Oval image, faded. Photograph not specifically credited, but probably by Simpson. Head and shoulders full-face portrait. Oval image, faded. Head and shoulders full-face portrait. Oval image, faded. Head and shoulders full-face portrait. Oval image. 'The Mullicks are considered by other tribes of Mahomedans a distinct race...but learned Mahomedans suppose that they were degenerate Hindoo Rajpoots who embraced Islam in the reign of Mahomed Ghoree. There is, however, no certain information as to their true origin or genealogy; but that they are a distinct race is universally admitted.' Head and shoulders full-face portrait. Oval image. Reproduced as a lithograph , plate 21(a), in Edward Tuite Dalton, Descriptive Ethnology of Bengal (Calcutta, 1872). Head and shoulders full-face portrait. Oval image. Head and shoulders full-face portrait. Oval image. Head and shoulders full-face portrait. Oval image. Head and shoulders full-face portrait of a man from Manipur. Oval image. Head and shoulders full-face portrait of a woman wearing a large nose-ring and other jewellery. Oval image. Reproduced as a lithograph, plate 25 (b), in Edward Tuite Dalton, 'Descriptive Ethnology of Bengal' (Calcutta, 1872). Head-and-shoulders full face portrait of the girl also seen in print 82.[74x98mm]. Head and shoulders half-profile porfile of a Mishmi woman smoking a pipe. Head and shoulders half-profile portrait. Oval image, faded. 'Rujwars, or Rajwars, are a race, supposed (like the Boonyas, with whom they have much in common) to be aboriginal. They occupy the south-eastern hills of Behar...They have taken to a vagabond life; and, their means of subsistence being precarious, they are addicted to robbery and thieving. Great numbers of them are little better than slaves of the various districts adjoining their native hills.' Head and shoulders half-profile portrait. Oval image, faded. 'The Ghilzyes form one of the most numerous and powerful tribes or clans in Afghanistan, especially in its southern portions, extending from Kandahar to the Sooliman mountains. They are a brave, warlike race, who have taken a prominent part in the history of their country, from the earliest times to the present...They live in communities governed by their own hereditary chiefs, free, independent, and lawless, as their progenitors have been for centuries. Their occupations are husbandry, and grazing sheep and cattle; but all are soldiers, well armed after their national fashion, brave and daring, and not without many virtues.' Head and shoulders half-profile portrait. Oval image, faded. Head and shoulders half-profile portrait. Oval image. '...The most distinguished in modern times were the Rajahs of Palamow. According to the family records they were formerly chiefs of Kumaon, and conquered Bhojpore in the Arrah district, expelling the Rajah of that country. There they reigned for six generations, till driven out by a stronger tribe; they then, some 250 years ago, invaded Palamow, driving from thence the Rajpoot Rajah...In Palamow they constructed two extensive forts of brick...[In the second of these] the last independent Rajah attempted to hold out against a British force, but the fort was breacxhed by artillery, and he then surrendered. The last of the race died childless, but there are three collateral branches now in existence, and Baboo Hur Buksh Rae, represented in the photograph, is the proprietor of the estate consisting of 370 villages, descended to him through the second of these branches. He is consequently a Cheroo of the best blood.' Head and shoulders half-profile portrait. Oval image. 'The Paharis or Pahariahs of Bhaugulpore are a race, inhabiting the hilly and jungly country (the name signifies hillman) of that large territory. The Pahariah is much shorter than the Sonthal, slighter in make, nearly, if not quite beardless, and of a much less cheerful disposition than his neighbour, with whom he contrasts unfavourably also on the score opf industry.' Head and shoulders half-profile portrait. Oval image. 'The subject of the photograph has little of the strongly marked Jewish features of the Afghans in general, and they have more of an aboriginal character; but his long curly hair and peculiar head dress, a thickly quilted cap, round which a slight muslin turban is folded, are characteristic of the lower orders of Dooranees...' Head and shoulders half-profile portrait. Oval image. Photograph not specifically credited, but probably by Simpson. 'The specimen given in the photograph is the son of a well-known petty 'Laird' of Chota Nagpore, who, with a few of his clan, was introduced into the country by the Maharajah when the latter it necessary to obtain assiatnce to support him in subjecting the Moondahs and Oraons to his authority. The estate of this Bhogtah family is called 'Bhawra Pahar', the Hill of Bees. This is a huge mass of granite beneath which he has built his house at the head of a little valley approached through a defile. In former days this gentleman bore a very bad character, and indeed the Bhogtas generally were rathe rnotorious as robbers and rebels.' Head and shoulders half-profile portrait. Oval image. Head and shoulders half-profile portrait. Oval image. Head and shoulders half-profile portrait. Oval image. Head and shoulders half-profile portrait. Oval image. Head and shoulders half-profile portrait. Oval image. Head and shoulders half-profile portrait. Oval image. Head and shoulders half-profile portrait. Oval image. Head and shoulders half-profile portrait of a Dooaneah man holding a spear. Oval image. 'The Dooaneahs are descendants of Burmese or Singpho fathers, from Assamese women captured in predatory irruptions and kept as slaves. Assamese males, carried off into slavery, are, from the loss of caste by their connexion with the Singphos, and the adoption of Singpho habits, also denominated Dooaneahs...' Head and shoulders half-profile portrait of a Miri man. Oval image. Head and shoulders half-profile portrait of a Muttuck woman. Oval image. Head and shoulders half-profile portrait of a Sonai man. Oval image. Head-and-shoulders half-profile portrait of a young Kirghiz woman, showing details of head-dress.[Sepia-toned print, 89x117mm]. head and shoulders portrait, showing jewellery. Head-and-shoulders portrait, similar to print 6.[Albumen print]. Head and shoulders portrait; oval image. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head-and-shoulders portrait of a Burmese youth, posed against a studio backdrop.[109x151mm]. Head and shoulders portrait of a Kachin girl. Head and shoulders portrait of a laughing Lihsaw man. Head and shoulders portrait of a laughing youth. Head and shoulders portrait of a Lihsaw man.. Head and shoulders portrait of a man. Head and shoulders portrait of a man. Head and shoulders portrait of a man. Head and shoulders portrait of a man. Head and shoulders portrait of a man. Head and shoulders portrait of a man. Head and shoulders portrait of an Abor man. Head and shoulders portrait of an elderly man. Head and shoulders portrait of an elderly man. Head and shoulders portrait of an elderly man. Head and shoulders portrait of a Persian man. Oval print. Head and shoulders portrait of a smiling girl. Head and shoulders portrait of a smiling girl. Head and shoulders portrait of a woman. Head and shoulders portrait of a woman carrying a basket on her back. Head and shoulders portrait of a woman from an unspecified location wearing her jewellery: nose ring, coin necklace, bracelets, arm-bands. Head and shoulders portrait of a woman holding her child. Head and shoulders portrait of a young girl. Head and shoulders portrait of a young girl named Sidia. Head and shoulders portrait of a young woman wearing jewellery. Head and shoulders portrait of Naga man.[Gelatin silver print, 79x128mm]. Head and shoulders portrait of the man also seen in print 1023. Head and shoulders portrait of the man also seen in print 11. Head and shoulders portrait of the man seen in Print 117. Head and shoulders portrait of the women seen in 13. Head and shoulders portrait of two Chin recruits. Head and shoulders portraits, including the head of a Malaiyali man. Head and shoulders profile portrait. Oval image. '...They are found in every village in Behar, though they have fixed habitations nowhere...They make bamboo baskets, mats, and chicks, or blinds, by which they earn about two annas per diem; but are so fond of drinking, that they spend nearly the whole of it in spirits, and lead a most miserable life, little better than that of a mendicant or Fuqueer...' Head and shoulders profile portrait. Oval image. Head and shoulders profile portrait. Head and shoulders profile portrait of a Kachari man. Oval image. Head-and shoulders profile portrait of a Kurumba man, with a rule to indicate scale on the right.[Albumen print]. Head and shoulders profile portrait of a man holding an axe. Reproduced as a lithograph , plate 26 (b), in Edward Tuite Dalton, Descriptive Ethnology of Bengal (Calcutta, 1872), and there captioned 'A 'Ho' or Kol of Singbhum'. Head-and-shoulders profile portrait of an Irula man, with a rule to indicate scale on the right.[Albumen print]. Head and shoulders profile portrait of a smiling Tibetan girl. A note accompanying the print reads, 'These Tibetans used to come down to Delhi and set up in the Cecil Hotel in winter.'[Gelatin silver print, 82x133mm]. Head-and-shoulders profile portrait of a Toda man, a ruler placed behind his head for anthropometric measurement.[Albumen print]. Head-and-shoulders profile view, showing wounds in right side of neck.[Silver printing-out paper, 69x92mm]. Head and shoulders profile view of a man, his face decorated with a curving line of diamond patterns, eating pig. Caption continues: 'When eating flesh, a large piece is cut off the joint, and pushed by the eater into his mouth. He then cuts off with a tortoise shell, or iron, or cane knife, 'Ch�da', the piece outside his lips. This particular knife is only used for cutting flesh.' Head and shoulders profile view of a man in the act of drinking. Caption continues (in part): 'These shells are fairly common on the shores of the Andaman Islands. They are treasured by the Andamanese, who ornament them in patterns with red ochre 'Koiob-da'...It is the ordinary drinking cup of the Andamanese, and is called 'Odo-da'. Head and shoulders quarter-profile portrait. Oval image. 'The Cheboo-Lama, late the Dewan, or Prime Minister, of the Sikhim State, was originally a student of Mendooling, a famous college or school in Tibet, two journies east of Lhassa...The Lama's first introduction to Europeans seems to have been in 1849, when he was deputed by the Rajah of Sikhim to accompany Dr Campbell, the British officer in charge of Darjeeling, on a tour in that country...the invasion of Sikhim (in retaliation for repeated insults and aggressions) in 1861, Cheboo-Lama was employed by the Btiyish officer in charge of the expedition, in procuring and organising the means of transport for the force...' He also served served as interpreter to Sir Ashley Eden's mission to Bhutan in 1864 and it may have been during this period that Simpson, who served as medical officer on the mission, made this portrait. Head and shoulders quarter-profile portrait. Oval image. Reproduced as a lithograph , plate 25 (a), in Edward Tuite Dalton, Descriptive Ethnology of Bengal (Calcutta, 1872). Head and shoulders quarter-profile portrait. Oval image. The letterpress quotes from the anonymous Sketch of Assam (1846): 'In stature the Khamtis are middle-sized, in countenance resembling the Chinese more than any other tribe on the [Assam-Burma] frontier, and possessiing the kind of complexion, perhaps a shade darker. They are an active, intelligent, shrewd , warlike-looking race of men, but there is a sinister expression, mixed with a peculiar severity, pervading their countenances, which leaves anything but a favourable impression of the benevolence of their dispositions.' Head and shoulders snapshot portrait. Head and shoulders snapshot portrait of two children Head and shoulders study. Head-and-shoulders view of left side of neck, showing wounds.[Silver printing-out paper, 73x96mm]. Head and shoulders vignetted portrait. Head-on view of the three soldiers also seen in print 38. Held and shoulders. Herdsman with yak. Hong Club in the distance is out of focus and indistinct. Horse wearing armour. House of a Ragyapa, with a member of the community standing in front: 'There is a community of beggars in Lhasa, known as Ra-gya-pa. The walls of their huts are built with the horns of animals, yaks, other cattle, and sheep. They are the scavengers of the city. It is their duty to carry the corpses of poor people to the appointed places where the corpses are broken up and given to the vultures. They must also take outside and cast on the surrounding plain the carcases of animals that dies in Lhasa.' ('The People of Tibet', p. 137). Houses on stilts in a lagoon. Hugh Richardson, who reproduces this photograph in Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 24-25, titles it, 'Monks outside the Tsuklakhang during the Great Prayer.' The Tsuklakhang is the complex of religious and administrative buildings which also incorporated the Jokang Temple. Husband, wife and daughter standing by roadside. Image of Penden Lhamo, shaded by umbrella, in foreground. See description of this part of ceremony in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 87. Image of Penden Lhamo being carried in procession. Image spoilt. Group of Wakhi men. India Museum No. 1118. received from Mrs Breeks, July 1873. General view, with measuring rule. See Breeks pl. xliv (a) for plan of cromlech group. Pl. lxix of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1163). India Museum No. 1119. General view, photographed with measuring rule. See Breeks, pl. xliv for plan. Pl. lvi of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1151). India Museum No. 1121. Received from Mrs Breeks, July 1873. Stone 'a' from Cromlech II. Pl. lxvii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1161). India Museum No. 1122. Received from Mrs Breeks, July 1873. Photographed with measuring rule. Pl. lxxii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1166). India Museum No. 1129. General view of cromlech group in jungle, with measuring rule. Pl. lx of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1155). India Museum No. 1131. Received from Mrs Breeks, July 1873. General view of group, photographed with measuring rule. See Breeks pl. xliv for plan. Pl. lxxiii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1167). India Museum No. 1132. Received from Mrs Breeks, July 1873. Stones 'a', 'b' and 'c' from Cromlech I, photographed with measuring rule. Pl. lxxiv of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1168). India Museum No. 1133. General view, with measuring rule. See Breeks pl. xliv(a) for plan. Pl. lxvi of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1160). India Museum No. 1137. Two open-ended thatched structures, with priest standing in foreground. Pl. xxii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1118). India Museum No. 1138. Received from Mrs Breeks, July 1873. Stones 'd' and 'e' from Cromlech I, photographed with measuring rule (see Breeks, pl. xliv (a)). Pl. lxxi of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1165). India Museum No. 1139. Received from Mrs Breeks, July 1873. Stone 'k' from Cromlech III, and stone 'm' from Cromlech IV (see Breeks, pl. xliv (a)). Pl. lxx of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1164). India Museum No. 1139. Received from Mrs Breeks, July 1873. Stone 'k' from Cromlech III, and stone 'm' from Cromlech IV (see Breeks, plate xliv (a)). Plate lxx of James Wilkinson Breeks, 'An account of the primitive tribes and monuments of the Nilagiris' (India Museum, London, 1873). Indian bearer with load on the Indrahar Pass. Indian family group engaged in scrubbed clothes outside a hut, probably near Calcutta. Note dung cakes drying for fuel on roof of nearer hut. Indian family outside a hut. Indian family outside a small grass hut. Indian figure operating a picotta, a device for raising water from a well. Carte de visite size print. Indian girls at prayer. Indian group posed in a doorway. Indian sepoys playing drum and small trumpet. Indian servant standing with trunks, two of which are loaded onto the bullock cart in the background. Carte de visite size print. Indistinct. Indistinct amateur snapshot, apparently showing agricultural labourers planting out land.[Albumen print, circular image, 62x62mm]. Indistinct instantaeous snapshot.[Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot of a group of men.[Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot of men with hoes clearing land, either for agriculture or to pitch camp.[Albumen print, circular image, 62x62mm]. Informal group of men, women and children. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 96, there titled, 'The masses prefer native to foreign cottons.' Informally posed group at Tal-i-sabz site, west of Firuzabad. (Ancient Persis Map, A3). Informally posed group of women and children. Carte-de-visite sized print. Informal portrait group. Informal portrait of a Padaung woman shopping in the bazaar.[Printing-out paper, 160x114mm]. Informal portrait of three boys seated on a wall. Precise location unspecified.[Gelatin silver print, 120x177mm]. Informal portrait of three boys with swords.[Gelatin silver print, 140x81mm]. Informal portrait of three camel drivers. Poorish quality.[Gelatin silver print (modern print), 140x88mm]. Informal portrait of two children standing at roadside. Informal portrait of two Tibetan herdsmen seated at roadside. Informal portrait of two Tibetan women, one facing the camera, one rear view. Informal study of three Kirghiz women. Another copy at print 89.[Gelatin silver print, 145x214mm]. In Print 27 the same woman is seen making tea. Instantaneous snapshot, faded.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot, full-length portrait of a man.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot, possibly of a bazaar scene, but very faded and impossible to identify.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot, possibly taken at Keng Tung in March 1890.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot, possibly taken at Mong Nai: Scott's dairy for 14 February 1890 records 'Took some photos on way back of bazar and some views' (OIOC Mss Eur F278/6 f. 20).[Albumen print, circular image, 62x62mm]. Instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of a Kaw (Akha) woman in the bazaar at Keng Tung. This appears to be the photograph referred to in Scott's diary for 21 March 1890: 'Got several Kodak shots at a Kaw woman but cld. not persuade her to come for a regular photograph' (OIOC Mss Eur F278/6 f. 43).[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of a woman (ethnic group unidentified), probably taken in the bazaar at Keng Tung.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of figure seated on ground in front of tree.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of figures in bazaar, probably at Keng Tung.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of figures in bazaar, probably photographed at Keng Tung. Loose print, removed from album.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of figures in bazaar.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of group in bazaar, probably photographed at Keng Tung in March 1890.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of traders, taken at the same location as print 290, possibly at the Palace Bazaar. Scott's diary records a number of photographic sorties in the Keng Tung bazaar in March 1890.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot portrait of a figure, probably in the bazaar at Keng Tung.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot portrait of kneeling figure, with men in the background clearing the ground. See also print 262.[Albumen print, circular image, 62x62mm]. Instantantaneous snapshot, faded and difficult to interpret.[Albumen print, circular image, 62x62mm]. Interior view of studio, with workers and painted objects. Intha leg rowers racing on Inl� Lake. Inthe leg rowers on Inle Lake. It is unclear what activity is taking place. See also Print 68. Jutka is the term applied to Madras taxi carriages consisting of a small box compartment drawn by a single horse. Kachin man standing beside painted grave ornament.[Gelatin silver print, 81x131mm]. Kalmuck man on horseback. Karen group, posed in front of a thatched house. Kashmiri woman seated at her spinning wheel beside a lake, probably at Srinagar.[Gelatin silver print, signed 'Bremner 86' in the negative, 288x239mm]. Kashmiri women and children with injured goat. Kaw woman with back-pack standing in group. Kaw women and children wearing traditional headgear. Kirghiz group posed in front of felt tent. (I.A. Map 2, C3). Knife dancers. Knife grinder at his wheel. Kodon is a type of millet. Kol group of four young women and a man. Kota family group posed in front of thatched house.[Albumen print]. Kurdish group posed in front of tent.[Gelatin silver print, 162x103mm]. Kurumba family group, seated in front of house.[Albumen print]. Lamas in procession through the streets of Darjiling, carrying horns. Large family group posed in front of their house, probably at Chhika (spelled Chikkan by Egerton). Large gathering of sadhus.[Gelatin silver print, 170x132mm]. Large group, with the young Jaswant Singh, Maharaja of Bharatpur seated in the centre of his durbar: 'The photograph is an excellent illustration of a native independent chieftain of the highest class, in his durbar or court. The young prince sits in the centre on his guddee or royal seat...His dress, probably of velvet or fine English cloth, is plain, except the gold lace with which it is trimmed, and his sword lies on his knees. Behind him are four servants, two of whom, outside, hold mirchuls of peacocks' feathers, and the chouree of yak's tail hair; another, possibly the prince's pan and spice box. Behind these is a grogeous curtain, which forms an appropriate background, and two aftab-geers, each of different pattern, are held by attendants. In two rows on each side of the Rajah, the nobles and sirdars of the state are seated, who may be relatives, or officers in various departments of the state services...The photograph appears to have been taken in 1862, when the Maharajah was about eleven years old...' Large group, with women in foreground, men (out of focus) behind. Large group arranged in circle. Large group gathered at fair. Large group gathered in front of thatched houses. Large group of carpenters at work in the open air. Large group of female dancers, with male drummers squatting in front. Original negative and modern copy print at Photo 527/2 (60). Large group of female dancers with musicians behind. Large group of fourteen men, variously armed with staves, bows and matchlocks.'...The fine group of the tribe presented here gives, perhaps, a better illustration of the men, their arms, appearance, and equipments, than any other. Three of the group have, it will be seen, matchlocks, but the rest have bows, the ancient tribal weapon. Some of the men belong to the Malwah Bheel corps, and seem smart, well set-up, young fellows; the rest are ordinary village Bheels.' Waterhouse's original notes state that all the men seen here were members of the Malwa Bhil Corps. For another copy of this photograph, with notes, see Photo 355/9 (28). Large group of Gond dancers. Large group of horsemen gathered on the plain on the outskirts of Lhasa. Mountains in background. Another copy of this photograph at print 389. Large group of Kirghiz posed among felt tents at the base of rocky hillside in the Tien Shan range. Large group of Kuruba men gathered in a forest clearing. Large group of Lushai men. Large group of men and women, photographed on the same occasion as print 74. Sept = a clan believing its members to be descended from a common ancestor. Large group of Mishmi men, gathered in front of a longhouse. Large group of monks with drums: part of the ceremony of Monlam Torgya, the longest and most dramatic of the New Year celebrations. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 39-51. Large group of musicians, both male and female. Large group of porters with their loads, resting.[Silver printing-out paper, 103x76mm]. Large group of soldiers and spectators. Large group of spectators in front of a building watching two figures (blurred) wrestling: 'Dalai Lama in upper verandah (right), we in window (left centre); wrestlers in foreground.' Large group of Turki women seated on rugs beneath trees, with food spread out in front of them.[Gelatin silver print, 292x196mm]. Large group of women, formally posed. Large group of women and children. Large group portrait. Possibly photographed by Felice Beato? Large group posed for photographer. An unidentified dignitary is seated on a raised plaform beneath a shamiana or awning in the background. In the middleground are two of the litters with masks seen in prints 647-666. Large posed group of Kafir men and youths. Large posed group of Kalash men and women. Large seated group. Large tear across print. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 320, there captioned, 'Kafirs - Lutdih.' The mission party remained at Lutdih from 29 September to 1 October.[Albumen print, 278x216mm]. Lepcha family grouped in front of house. Lepcha woman carrying two thick lengths of bamboo on her back. Letter writer seated at his desk with clients. Lined up in the garden of Pen-jor Lhun-po. On left, servant boy of the Do-te family, who live near San-gang and have come on a visit to the Pa-lha family. On right, musician holding mandolin-like instrument. Between them, four child dancers, standing on a wooden plank in order to bring out the rhythm of the dance. Line of female labourers, each armed with an implement for flattening down the roof surface. Line of hill porters carrying baggage. Line of Kafir men, posed with their bows pointing at the photographer. Line of monks walking along a path through a field.[151x93mm]. Line of monks walking with their bowls in front of a pagoda. Copy print of a Klier photograph: for an original print, see Photo 88/1 (48).[140x96mm]. Line of monks with bowls, posed in front of pagodas. Line of Naga porters crossing the Lohit river at Saikwa. Line of porters with their loads on their backs. Line of priests gathered in the courtyard of an unidentified building. Line of squatting girls each grooming the hair of the girl in front. Probably photographed at Mandalay. Second copy neg at B.9350. Line of three carts laden with grass(?). Line of Tibetan women with jugs of beer. Line of women carrying earthenware pots on their heads. Line of women carrying earthenware pots on their heads near a pool. Long dugout with leg rowers on Inle Lake. This is during the Hpaung daw-u festival at Yaunghwe and the rowers are awaiting the arrival of the barge carrying images. Looking towards group of actors seated on the ground. Lopa family posed in front of thatched house. Lushai families at the roadside. Lushai group photographed in front of the same building and on the same occasion as print 11. Some of the same figures appear in both prints. Mahsud group, probably photographed at the jirga seen in prints 26-28. Mahsud group in camp. Part of the Holmes series of views entitled With the Derajat Column in Waziristan. Mainly female group, full-length, probably photographed at Taunggyi. Typescript note on reverse of print reads : ' ""Tame"" Wa. Women in centre, men at ends.' Male and female group, posed in front of a building, with cows. Man, wife and two children posed in front of a bamboo house. A dark print. Man, woman and seated youth. Man and boy in a field. This photograph is reproduced as a lithograph in Alexander Cunningham, 'Report of a tour in the Central provinces and Lower Gangetic Doab in 1881-82' (A.S.I. vol. XVII, Calcutta, 1884), pl. xxxiii. The taking of this and the following photograph are described in H.B.W. Garrick, 'Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82' (A.S.I. vol. XIX, Calcutta, 1885), pp. 36-39: His first attempt to obtain photographs of these people was unsuccessful, since his prospective sitters fled the area on his approach: 'I, however, kept some Brahmans in communication...and since heard favourable news, and on my arrival in Vaidyanath a second time, with considerable trouble and expense to myself, I succeeded in getting a most characteristic example of this timid clan, who, bearing out their traditional love of obscurity, shrink most provokingly from any notice being taken of them...[his Brahman contacts] fetched me a headman, or sirdar of the small community, and his child, so that, after so many trips failing on my first visit, the affair having matured during my absence, I obtained plates of the Swiris and much information that my paper previously lacked.' See also print 456. Man and boy in a field. This photograph is reproduced as a lithograph in Alexander Cunningham, Report of a tour in the Central provinces and Lower Gangetic Doab in 1881-82 (A.S.I. vol. XVII, Calcutta, 1884), pl. xxxiii. The taking of this and the following photograph are described in H.B.W. Garrick, Report of a tour through Behar, Central India, Peshawar, and Yusufzai 1881-82 (A.S.I. vol. XIX, Calcutta, 1885), pp. 36-39: his first attempt to obtain photographs of these people was unsuccessful, since his prospective sitters fled the area on his approach: 'I, however, kept some Brahmans in communication...and since heard favourable news, and on my arrival in Vaidyanath a second time, with considerable trouble and expense to myself, I succeeded in getting a most characteristic example of this timid clan, who, bearing out their traditional love of obscurity, shrink most provokingly from any notice being taken of them...[his Brahman contacts] fetched me a headman, or sirdar of the small community, and his child, so that, after so many trips failing on my first visit, the affair having matured during my absence, I obtained plates of the Swiris and much information that my paper previously lacked.' See also print 456. Man and child seated on the ground. Man and two children standing in a village. Ethnic group unidentified. Negative marked up for cropping. Original and duplicate negatives only, no print. Man and two women seated on the ground at their work. Duplicate at Photo 335/2 (60), there captioned 'chucklers', a South Indian term for shoemakers. Man and wife on a country road. The man is carrying his two children in baskets hanging from a yoke across his shoulders. Man and woman on horseback, with servant in foreground. Man and woman on horseback. Man and woman walking along a road. The man carries a palm-leaf umbrella. Man and women posed in front of the verandah of a house. The woman, and the location, are the same as those seen in print 20. Man at work with foot-operated loom. This photograph is used as illustration no. 187 in vol IV of The People of India (1869), where the location is given as Delhi. Man breaking up bones with a hammer. Man firing bow, surrounded by onlookers. Man fishing from a wooden canoe, lifting out a fish impaled on his spear. Man fishing with a net from a pier. Man holding armadillo by the tail, watched by other figures in background.[Gelatin silver print, 82x139mm]. Man holding Indian club. Man holding large Indian club Man holding large stone above his head: front view. Man holding large stone above his head: side view. Man in chain-mail armour, armed with bow and arrow, standing beside horse. Man in chain-mail armour, posed in the act of drawing his bow. Man in chain-mail armour, seated on horse. Man kneeling on blanket, looking off to left. Numbered '59' in the negative. Man kneeling on mat in verandah, preparatory to enacting self-mutilation rites.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 259x306mm]. Man of the Kumhar (potter) caste throwing a pot on a wheel. Man on riverbank holding large fish.[Gelatin silver print, 82x122mm]. Man ploughing with donkey: duplicate of print 34.[Gelatin silver print, 167x112mm]. Man posed standing on head. Man posed with feet behind head. Man posed with skewer inserted through neck and protruding from other side.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 309x258mm]. Man seated at low wooden table, with women standing behind. Man seated at table with samovar, his wife standing beside him.[Albumen print, 206x264mm]. Man seated at work behind a spinning wheel. Man seated cross-legged at his embroidery frame. Photograph used as illustration no. 188 in vol. IV of The People of India (1869), where it is captioned 'Scarfmaker'. Man seated cross-legged in meditation. Man seated cross-legged in the act of sword-swallowing. Man seated in courtyard with skewer inserted.Original �-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 252x312mm]. Man seated on ground, making fire by rubbing fibres together. Man seated on mat on ground, with child in his lap. Man selling sugar cane from a roadside stall. Man standing in front of a palm thatch hut: '...While we were waiting, and after the toddy people had cleared off, an ancient creature strolled along with a big wooden pitch fork, and an axe. We summoned him to stop under the name of Robinsob Crusoe, and took a photo of him outside a hut which seemed to fit in with him in the picture.'[Silver printing-out paper, 76x133mm]. Man standing on a cart drawn by a small bullock. The reckla is small two-wheeled carriage consisting of little more than a small platform and seat mounted over the cross-axle. Probably the print listed in the Nicholas & Co. catalogue as '75. Reckla (Native coveyance)'. Man standing with a snake draped round his shoulders. Man with two children, the elder of which stands with a sort of wooden scooter. Man working on a leather golf club case, with other examples of his work (suitcases, briefcases, etc) spread out around him. Market scene. Market scene at Wan Kawngi. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 308, with caption note: 'Two K�kawngdu women making purchases in the Kawng-i bazaar: Burma. The stall-keepers are Shans. The ring at the back of the neck is more clearly seen on the woman sitting down (see text, page 315). The 'well-dressed' Karen woman wears as much as 50 or 60 pounds of brass rings on neck, arms, and legs.' Market scene with a parsnip/carrot (?) seller.. Masked dancers in a courtyard of the Palkor Chode Monastery. Masked dancers in the courtyard of the Gungthang temple. Masked dancers performing, with spectators beyond. See Hugh Richardson, Ceremonies of the Lhasa year (Serindia, London, 1993), pp. 116-123. Masked dancers performing in courtyard. Masked dancers performing in the courtyard of Gyantse Dzong. Masked dancers performing in the courtyard of the Gungthang temple. Massive relief sculpture (in clay?) of the seated goddess Drol-ma (the Deliverer). With protective stone wall built around image. Masulah boat beached on the foreshore, with crew seated at their places. Photograph unsigned, but probably by Nicholas & Co. Member of sect with tongue pierced by long skewer.Original �-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 190x285mm]. Members of crowd gathered round photographer. Men carrying large loads of wool on their backs. Mishmi group. Prints 44-47 supply good illustrations of Mishmi dress. Mishmi group. Mishmi group (porters?) seated at roadside. Mishmi group seated in clearing. Mishmis constructing wooden framework of building. Mixed group of seven figures. Mixed group of tribal people, including Shans, Kachins and Padaungs. Photographed at the same location, and probably on the same occasion as print 1. Mixed group seated on riverbank. Mixed tribal group, dating as for print 141. Another copy at print 236. Mixed tribal group, dating as for print 141. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views of hills and rock formations, plus a number of views of a potter at work at his wheel at Rohtasgarh. Modern print from original glass negative. Bearded European man seated at the window of a bungalow, with two women standing on the verandah in front. Modern print from original glass negative. Full-length portrait of a woman standing in front of foliage. This is the same figure seen in print 29. Modern print from original glass negative. Full-length portrait of two female tea pickers and a male porter with a chest of tea strapped to his back by means of a wooden frame. Modern print from original glass negative. Group of men and women, standing in a line in front of foliage. Modern print from original glass negative. Group portrait of some 20 men, women and children, posd against a backdrop of foliage. Modern print from original glass negative. Similar group to prints 35-36, but here posed with a European man and woman, and placed near one of the estate buildings. Modern print from original glass negative. Similar group to prints 37-38, but posed against a foliage backdrop and with the European woman standing apart from the group at the right. Modern print from original glass negative. Similar to print 35. Modern print from original glass negative. Similar to print 37. Modern print from original glass negative. Similar to print 39. Modern print from original glass negative. Similar to print 41. Modern print from original glass negative. Similar to print 44. Contemporary print from this negative at Photo 527/1 (104). Modern print from original glass negative. Similar to print 59. Contemporary print from this negative at Photo 527/1 (102). Modern print from original glass negative. Similar to prints 59-60, but with a European man (the figure seen in prints 41-42) standing in the centre of the group. Contemporary print from this negative at Photo 527/1 (103). Modern print from original glass negative. Modern print from original glass negative. Three-quarter length seated portrait of a woman posed against a dark backdrop. Monba group posed in front of palm weave houses. Monba group seated on ground. Monk posed with large metal teapot carried over left shoulder. Monks seated on the ground at prayer in the Norbu Lingka, the walled park west of Lhasa containing the summer palace of the Dalai Lama. Moplah woman at roadside.[Gelatin silver print, 83 X 110 mm]. More distant view of small stone temple, with group posed for camera. More likely a half-length portrait of a girl. Moslem soldier tying his puggree around the central kullah. Mother standing at right. Mounted soldier in courtyard. ('Tibet Past and Present', p. 29). Muleteer posed with one of his animals. Muleteer with back to camera. Musicians and dancers posed in a clearing. Musicians and masked dancer posed for camera. Musicians posed with their instruments (horns, drums, etc). Musicians seated in semi-circle on ground. Mussocks (also known as dreas) being inflated at the side of the river. Photographed about 20 miles from Naldera. Stereoscopic pair. Mystery play in progress in the monastery at Hemis. Naga family in front of thatched house. Negative marked up for cropping. Naga group carrying in a dead dog slung from a pole; the animals was caught on the sands of the Lohit (Brahmaputra) at Saikwa. For a very distant view of the hunt itself, see Mss Eur F157/479 (164). Naga group on verandah of house, with woman seated at a loom, weaving.[Gelatin silver print, 119x80mm]. Naga man and youth, standing in front of tent.[Gelatin silver print, 79x136mm]. Naga man standing in front of tent.[Gelatin silver print, 80x134mm]. Nagas? Narrow dugout canoe with five leg rowers under way on Inle Lake. Nautch dance in progress, with spectators seated round the performers in a courtyard, and women watching from a purdah gallery above. Negative badly cracked. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print Negative only, no print Negative only (cracked), no print Nepalis in front of a decorated tent in a park near Lhasa. Note below caption reads: 'From a collodion negative, by Johnson and Henderson'. The print is numbered 'No 2' and has a letterpress description. Note below caption reads: 'From a collodion negative, by Johnson and Henderson'. The print is numbered 'No 3' and has a letterpress description. Note below caption reads: 'From a collodion negative, by Johnson and Henderson'. The print is numbered 'No 4' and has a letterpress description. Note below caption reads: 'From a collodion negative, by W. Johnson'. The print is numbered 'No 1' and has a letterpress description. Note below caption reads: 'Photographed by Johnson and Henderson'. The print is numbered 'No 10' and has a letterpress description. Note below caption reads: 'Photographed by Johnson and Henderson'. The print is numbered 'No 7' and has a letterpress description. Note below caption reads: 'Photographed by Johnson and Henderson'. The print is numbered 'No 8' and has a letterpress description. Note below caption reads: 'Photographed by Johnson and Henderson'. The print is numbered 'No 9' and has a letterpress description. Not sharp. Novice squatting in attitude of prayer before a group of monks. Numbered arrangement of spear-heads, scissors and other implements found in cairns and barrows.[Albumen print]. Numbered I-V in negative, corresponding to key at pl. xliv of Breeks. Pl. xlix of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1144). Occasion unidentified. Older woman and three young girls posed in group. One-legged beggar, on crutches, standing beside road. One man is standing playing his pipe, the other is sitting on the ground. The snakes are in bags slung from poles over their shoulders. On the east shore of Lake Niriz. (Ancient Persis Map C2). Oracle in full dress seated on raised throne. An unclear image. Original 12""x10"" glass negative, no print. Full-length portrait of a Waziri tribesman, leaning against a rock with a rifle slung over his shoulder. Original 12""x10"" glass negative, no print. Full-length portrait study of a Mahsud tribesman, seated on a rock on a hillside. His hands and face have been retouched with blue dye to lighten skin values in printing. Original 12""x10"" glass negative, no print. Full-length studio portrait of a tribesman of the North-West Frontier, holding a rifle and posed in an attitude of watchfulness. Original 12""x10"" glass negative, no print. Full-length studio portrait of a young Pathan woman. The negative has been retouched with red dye on the skin areas to lighten the values in printing. Original print of this image at Photo 267 (2). For another copy of this print, see Photo 1079 (2). Original 12""x10"" glass negative, no print. Posed study of an Afridi tribesman taking aim with his rifle from behind the cover of a rock. Original 2�""x2�"" b/w negative of Tibetan dancers performing. No print. A photograph similar to, and taken on the same occasion as print 275. Original and duplicate negatives, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original glass negative, no print. Original glass negative, no print. Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 255x303mm]. Original �-plate glass negative only, no print. Child wearing Persian hat. Ornately carved head of newel post supported on four chinthes or mythical lions. Shown at the Paris Exhibition of 1900. This formed part of the Burmese teak staircase in the Grand Vestibule. The piece is illustrated in Benjamin J. Rose, 'Paris Exhibition, 1900. Report on the Indian Section' (London, 1901), illustration section between pages 34-35.[Albumen print, blind-stamped 'P. Klier Rangoon', 211x270mm]. Ornately carved wooden mantelpiece with screen above. Shown at the Paris Exhibition of 1900.[Albumen print, blid-stamped 'P. Klier Rangoon', 215x275mm]. Oval image, faded. Full-length portrait of four men, three standing in foreground, one seated behind: '...As the tribe is predatory and classes with those hereditary robbers who, though more reclaimed than they used to be, still prey upon the public at large in their own and adjacent territories, the present plate is offered as an illustration of their appearance when armed for a foray. The figure at the right of the picture carries a bow and arrows, and his lance or spear rests against the thatch of the house. The figure opposite to him has a long lance, and his right hand grasps the head of a bamboo club encircled with heavy iron rings...he also has a kuttar, or square handled dagger, in his waistband, and a bow with arrows at his back. The man behind these two holds a matchlock in his left hand, and his powder horn, bullet bag, &c., are disposed about his waist, and the sitting figure has also a matchlock. Two of the men have their faces tied up by a handkerchief, an ordinary method of disguise, or protection from either heat or cold, and assisting also to alter the voice. According to the official description, these Meenas...belong to an aboriginal race which originally inhabited that part of the country to the north of Rajpootana lying between Ajmere and the Jumna...These Mairs are now industrious cultivators; and although the hereditary instinct of predatory life hardly ever becomes extinct, at least for several generations, yet the improvement of the people by education, and by successful agriculture, has advanced the condition and moral habits of the tribe to a great extent, and the entire reclamation of all the Meenas and their subdivisions will, it may be hoped, be effected in time. The group photographed is of Purriar Meenas, who are principally located in the Kerna, a hilly district in the vicinity of Jehazpoor of Meywar...They are an athletic, active, and brave people, tall, handsome, and fond of sport...They are free and open in manner and conversation...Every Meena in and about the district is, or has been, a robber...' Duplicate at Photo 1000 (4363), there credited to Impey. Oval image, faded. Full-length standing portrait of man and woman. 'Meder and his wife belong to a small cultivating class in Coorg, who reside at Jeddenal Kun Naad, in the south of Coorg, a place to which they emigrated from Malyalim some centuries ago. They are not more than fifty families in number, and are cultivators of the soil only...In appearance and complexion they resemble Coorgs, and their habits are the same...' Oval image, faded. Group of squatting men and women. Oval image, small print made from a broken glass plate. Two wheeled wooden cart, with figures seated on it. 'The above is an illustration of the Raingi or small travelling cart used by the natives of Berar, and the adjoining district of Chanda. They are light, cheap, and strong, but without springs of any kind. They are drawn by a pair of bullocks suited to the size of the Raingi. Two men with their bundles, can be accommodated in most of them, and carried over very indifferent roads at the rate of 6 and 6� miles an hour. To prevent collision at night, the bullocks have small bells suspended from their necks, which can be heard at considerable distances.' Oval image, vignetted. Full-length portrait, seated cross-legged on the ground, wearing conical cap. For another copy of this print, see Photo 993 (24). Oval image, yellowed and fading. Full-length portrait of four figures, seated in a row in European chairs. 'The Lodhis are a tribe of cultivators who much resemble Jats. Many years ago a number of them emigrated from the Upper Provinces and settled in the Nerbudda valley of the Central Provinces, and also in the Pundara district. They are good farmers, but disposed to turbulence and quarrels among themselves, and they were by no means peacable during the rebellion, being much given to plundering and aggression on their neighbours.' Oval image. 'In the photograph the Schroff is represented seated cross-legged upon his bench, with piles of cowries before him, ready counted; and he is offering a handful of pyce to a Mussulman customer, who apparently doubts whether they are enough. Before him is his day-book, into which he enters the most minute transactions, and beside him his box and small bags of money...' Oval image. 'The photograph shows a man at work, with his assistant, who may be required occasionally, but who for the present is looking on. The workman is seated on a rude stool, which has a rest for his right hand. The treadles of his simple loom, worked by his feet, are seen below, and the cross pieces above are the heddles and strings which hold his materials for the pattern he is working, and which is effected by skilful manipulation.' Oval image. 'The photograph shows the Sonar at work. An earthen vessel of rude but very efficient form is his fireplace, which has a vent at top. His bellows a blowpipe; his tools a hammer or two, a pair of flexible tongs, a few pincers of different sizes, and a few steel chasing tools, and steel, basalt, and soap-stone dies for patterns. His anvil is generally a piece of basalt or green stone. With these simple means he executes the most delicate work in the world...' Oval image. Full-length portrait, seated at a table, writing. 'Rao Krishn Rao is a Mahratta pundit, who resides at Saugor. As he forms one of a group (No. 359), in which others of his class are represented, further mention of him here is unnecessary; and, indeed, no particulars are given of him, either as to his services, his attainments, or his present position.' Oval image. Full-length portrait, seated beside a table. 'Ram Rao Narrain is the Prime Minister of the state of Holkar. He is a Brahmin of the Deccan, and a man of great intelligence and ability; but as the Maharajah governs himself, it is probable that he has no authority beyond the regulation of details.' Oval image. Full-length portrait of a Brahmin seated writing at a table. 'The photograph represents a Smartha Brahmin, as may be seen from the horizontal caste mark on his forehead, and he is of the Laukika class, of those who follow wordly occupation. The person represented is evidently a scribe; he may be a secetary, or accountant, or follow business of his own, without hindrance or reproach. Such Brahmins are frequently very able men; thoughtful , persevering, industrious, and faithful...' Oval image. Full-length portrait of a seated figure, writing. 'The person represented is of the same class as the preceding, and is following a worldly calling...' Oval image. Full-length portrait of four men (standing) and three women (seated). 'The Bugis inhabit a large portion of the island of Celebes, of which they are one of the principal tribes, and have a distinct language of their own...The group represented are emigrants from Celebes, who come to Singapoor in large numbers, and are employed as labourers, porters, and also take service in the local police. They are an industrious, sober race, and esteemed trustworthy...' Oval image. Full-length portrait of four men gathered round cart. The plate shows a party of Goojur zemindars, who are farmers or cultivators, with one of their strong and very useful carts. These are used for the transport of grain or forage to Agra, or any city or town of the North-West Provinces, and will carry heavy loads...' Oval image. Full-length portrait of group seated on ground. 'The term Koonbi means cultivator, and is applied to all who plough land for the purpose of sowing wheat, gram, jowari, cotton, rice, &c. The Koonbis of Berar consist principally of the Heindri, and Gatula tribes of the Suder division of caste, and are located in great numbers in all parts of the Berar valley, and even among the Korkus, and Gonds of the low plateaus adjoining the Taptee, Warda, and Pain Gunga rivers...' Oval image. Full-length portrait of group seated on ground. A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (399)). Oval image. Full-length portrait of man seated cross-legged on blanket. Oval image. Full-length portrait of Raja seated on cushions. 'The young chief manages his own affairs, but is difficult of access, and thus inconvenience is felt by his subjects; but it is probable he will listen to advice, and appoint a responsible minister ere long. He takes great interest in schools, and is reported to be anxious and willing to attend to the desires of the British Government.' Oval image. Full-length portrait of two men, seated cross-legged on either side of a stack of pots. 'Komars are located in all the towns and large villages of Berar. They belong to the Suder or fourth division of caste, and live principally, if not entirely by the sale of earthen pots...In addition to earthen pots, Komars are employed in making bricks and tiles for building and roofing houses...' Oval image. Full-length portrait of two men, seated on a blanket. Oval image. Full-length seated portrait, with sword resting across lap. 'As this person is not mentioned in any of the official lists...it can only assumed that he is one of the petty chiefs with whom that province abounds. They are partly Gond, partly Rajpoot, and have no influence beyond their limited area of possession and its scanty population.' Oval image. Full-length seated portrait. 'The Dewan is not a pure Afghan, but has an admixture of Hindoo blood. His ancestors in the fourth of fifth generations were Hindoos of the Kullal, or distillers' caste, and were made Mussulman proselytes in the time of the Emperors of Delhi...[he] was taken into Her Highness's service as a mutsuddy; and having been well educated in Delhi, and naturally of a grave and thoughtful mind, he became a great favourite, and rose rapidly, by his ability and perseverence, to the high rank he now holds. Jumaloodeen personally is a most amiable, upright man, and has proved himself an able statesman and councillor. At the time of the mutinies he was absent on a pilgrimage to Mecca. His age is fifty-five, and he is a tall, good-looking man.' For another copy of this print, see Photo 355/9 (16). Oval image. Full-length seated portrait. 'The Jacoons are a primitive tribe inhabiting, in conjunction with others of the same character, the Malayan Peninsula. They are the most African and prognathous of the lank haired Indianesian tribes...The Jacoon and his wife are both decently dressed, and may have become civilized themselves, or belong to a portion of the tribe who may have come under civilized influences.' Oval image. Full-length seated portrait. Oval image. Full-length seated portrait of the Kuki chief and his daughter. This photographs has been created from two original portraits. 'The plate represents the chief of the Kuki tribe with his daughter. The tribe are cultivators to a small extent, and they follow also the chase, selling ivory, gums and forest produce in the market of Chittagong. They appear to be a peaceable tribe, and it is probable, under the effect of explorations of their wild mountains, that they will become better known than they are at present.' Oval image. Full-length seated portrait of two men. 'Kullals belong to the Suder caste, and live principally, if not entirely by the distillation of spirits. They are located in all the towns, and in most of the villages of Berar. Some of the more opulent resemble Soukars, or bankers in appearance and dress, and are possessed of large fortunes...' Oval image. Full-length seated portrait of two men and two women. Oval image. Full-length standing group of three figures: 'The persons represented in the group are a father, mother, and daughter; they are Amma Kodagi, or Kaveri Brahmins. They belong to a small sect of Brahmins who reside in the south-western portion of Coorg, and are the indigenous and hereditary priesthood devoted to the worship of Amma, or mother, the goddess Kaveri. Their number does not exceed fifty persons, and they are entirely unlettered, and ignorant of Brahmanical lore, of a quiet, inoffensive character, performing a few ceremonies in connection with the worship of the holy river...The Amma in the photograph wears a blue coat and turban, and a red sash, in which a silver handled knife is worn, with chains and tassels of the same material. His height is five feet six inches. One of the women wears a white, the other a blue, sari, and the usual head, neck, ear, nose, hand, and feet ornaments of gold and silver. The old woman is four feet nine inches in height. Their complexions are rather fair, eyes dark brown, and their hair black and straight.' Oval image. Full-length standing portrait. 'The group represented shows the dress of the women of Coorg, and the peculiar and very picturesque head dress, which consists of a gay checked or striped handkerchief tied lightly with the ends hanging behind. With ordinary Hindoos the bodice or jacket has short sleeves, which do not reach the elbow; but the Coorgs wear the sleeves down to the wrists. The ornaments worn by the mother do not differ from those of other Hindoos - necklaces, ear rings, wrist bangles, and bracelets, with anklets of silver or gold.' Oval image. Full-length standing portrait. 'The Photograph represents Madeo, and Kali, his sister, five feet and four feet eight inches respectively. They belong to the Betra or Botra Kurumbars, who live on the northern slopes of the Neelgerries, adjoining Coorg. Their occupation is the manufacture of baskets, mats, and umbrellas...Their appearance is very wild, their features broad, with high cheek bones and protruding lips; their complexion dark brown to black...Their chief occupation is gathering wild honey...' Oval image. Full-length standing portrait. 'Toolsee is an old dacoit of Central India, and is imprisoned at Jubbulpoor, where he has become an approver against dacoits...' Oval image. Full-length standing portrait of a man and a woman. 'The introduction of Cgristianity has evidently much improved the condition of these people. Formerly few were able to read; devil worship exercised a degrading influence on their minds; the women were not allowed to cover their bodies above the waist, and their moral and social conditions were very low. Numbers have now been educated in the English seminary at Nagaurcool and other mission schools; improvement and progress are visible to a wonderful extent among them. Most of the poorer Shanars continue to follow their former occupation of collecting and extracting the juice of the palmyra palm tree for the preparation of sugar...' Oval image. Group of carpenters at work, engaged in making a piece of furniture in European style. 'The operation of turning is shown in the plate: a square frame, consisting of two heavy pieces of wood for sides, with cross pieces which pass through the sides, and can be adjusted as to width by wedges. The work to be turned is fastened between two iron points, the frame laid on the ground, and the wood is turned by an assistant sitting in front, who passes a smooth rope twice or thrice round the wood, and pulls steadily first one end, then the other, till the wood acquires a rapid motion. The turner sits behind, applying his chisel held in a rest to the wood whenever the motion is towards him...' Oval image. Group of eight men, women and children. 'Koormees, or Kumbis, are Sudra Hindoos of good rank in the social scale all over India; a most industrious and hard-working people wherever they are found, with no imputation of normal crime attached to them, respected by all classes, and of most respectable bearing and conduct in all relations of life. By hereditary occupation they are farmers and tillers of the soil, and rarely betake themselves to other occupations in life, and never become artisans...' Oval image. Group of nine figures. 'The group of Bheels, or Bhils, is taken from members of the Malwah Bheel corps, and the men have a much more civilized look than in their native condition. They have been drilled, and are soldiers of government, which has improved them. The five men are accompanied by four women, one of whom is somewhat good looking; but the Bheels, for the most part, are an extremely ugly race, and like most of the aboriginal tribes, have features peculiar to themselves.' Oval image. Group of three gardeners: 'The men represented are evidently making up their baskets for market: one is selecting them, another is washing them in a tub, and the third is probably pulling beans of a favourite sort, which are universally used, and which grow as a creeper plant...' Oval image. Group of three men, seated on the ground. A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (397). Oval image. Group of three squatting figures (two women and a man). 'The Chumars are the very lowest grade of Hindoo caste, and act as tanners, cobblers, and rough shoe and sandal makers. They are evidently of the aboriginal tribes of India, as is shown by their habits and features every where in the south, which have a strong affinity to those of the unreclaimed jungle tribes of the lowest grades...The group shown in the photograph is common in every fair or village market. The master of the family sits on the ground, cobbling shoes or sandals, with his lapstone beside him; his daughter (or it may be his wife), with all her tools beside her; and an old woman beyond (perhaps his wife), with a pile of strong shoes for sale...' Oval image. Half-length portrait of a Korewah man, armed with a bow and arrow. 'The Photographs are of Korewahs of Khorea, brought in for the purpose by the brother of their chief, the Dewan Rampershad Sing. They had never been so far from their homes before, and had never previously seen a European. As Dr Simpson had not arrived, it was found necessary to detain them for some days, and their alarm at this was excessive. It is possible that they regarded the good feeding they were indulged in as but the preparation for the sacriifce they were destined to be victims of; but eventually they left the station well pleased with the result of their visit, and promising to come again.' Oval image. Half-length seated portrait of a young woman. Oval image. Portrait of a Banwa Fakir seated cross-legged on the ground, wearing a cloth robe and conical hat or cap. 'The meaning of the term Banwa is indifference to whatever is worldy. The Fakir of which the above is an illustration is of the Mahomedan persuasion, and more bigoted than most others; seldom if ever applying to any but Mahomedans for assistance...When out begging, they assume a position similar to that shewn in the photograph, and if not immediately assisted, remain for hours to all appearances oblivious of everything but the duty of prayer and meditation.' A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (402)). Oval image. Portrait of husband, wife and child, posed behind baskets of vegetables. 'These form a very useful class of market gardeners, who sell the produce of their own gardens in the markets of Madras and other towns and cities...The 'Covent Garden' at Madras is a busy scene in the early morning, when natives flock to the vegetable stalls in throngs to buy thier daily need, which both abundant and cheap...' Oval image. Portrait of two men, seated cross-legged on the ground. 'The Lohars or Ironsmiths of Berar belong the Suder, or last division of caste. They are located in all the towns, and in most of the villages of Berar. The majority are employed in making, and repairing ploughshares, and other implements for the Koonbies of the villages in which they are located, for which they receive a percentage on the fields cultivated. In addition to making, and repairing ploughshares, some are employed in making axles, tiers, joints, nails, &c., for carts,and are paid at a fixed rate for each pound of wrought iron...' Oval image. Portrait of two men, seated with a basket containing a pot of oil in front of them. 'Tailies or Oilmen belong to the Suder division of caste, and are located in most of the towns, and villages of Berar. They live principally by extracting oil from the seed of the tilli, kardi, alsi, karal, toli, and other cereals, which they retail at various prices at most of the markets and fairs of Berar. The refuse of the mill is made up into cakes, and sold to Koonbies, and others for feeding cattle.' Oval image. Portrait of two men seated cross-legged on ground. 'The Dallals or Brokers of Berar are located at all the cotton marts of Berar, and are believed to be more or less opulent; receiving as they invariably do a percentage upon all sales, or purchases effected by them...In addition to cotton, sales of linseed, hides and other produce are effected by Dallals, upon all of which they receive a percentage...' Oval image. Portrait of two men seated on the ground with pots. 'The Kasars of Berar belong to the Suder caste, and are dealers in brass, copper and iron vessels, and glass ornaments of different kinds, and various sizes, which they sell at very remunerative prices...' Oval image. Seated group of policemen. 'The Police Jowans of Berar are composed of Hindoos, as well as Mahomedans. They are all under the Superintendent of Police, and are located at all the large towns, sudder stations, tehsildaries, and chokies on the principal roads...' Oval image. Seated group of three tailors at work. Oval image. Seated portrait of a man and a woman. '...The Talaings with one voice implored to be taken under British protection to escape the tyrannical government of the Burmese; and this, in conjunction with other reasons, mainly brought about the determination of Lord Dalhousie to annex their province. They have proved grateful and faithful, and the improvement and progress of Pegu have been almost unparalleled.' Oval image. Three seated figures; the outer figures are largely out of the picture. For another copy of this print, see Photo 993 (7). Oval image. View of three blacksmiths at work. 'The plate represents a blacksmith seated at his forge, accompanied by his bellows boy and hammer man...The tools of an Indian blacksmith are very simple: a few steel faced hammers, including the heavy one used by the hammer man; an anvil, which in this case appears to be of an English pattern; files, which he usually makes himself and tempers well; pairs of pincers, large and small; and cold chisels. The forge is a hole made in the ground, and the whole plant of the shop may be removed anywhere it is required...' Oval image. Vignetted head and shoulders portrait. 'The Mughs are a highly Bengalized class of Rakoings, who call themselves Myami or great Myams. They inhabit Arracan, where they form an industrious, active and useful class of people, not without soldierly qualities...' Oval image. Vignetted head and shoulders portrait of a Burmese man. Padaung girls in front of a house. Padaung group at Mandalay for the Viceroy's visit. Palaung group standing in foreground, with village houses on the hillside beyond. Faded print.[Albumen print, 235x190mm]. Performance in progress. Performance taking place beneath awning, with spectators in semi-circle beyond. Presumably taken from Bell's vantage point on the roof (see print 136). Bell's typescript index describes this point in the performance as follows: 'Chinese Emperor, with long moustache, standing, facing us. Ministers of India, Mongolia, Iran and Turkestan ranged along the sides. Tibetan Minister sitting down, facing us.' Performers grouped beneath awning, with spectators seated in a circle around. Photographed by Kennedy during the Abor Expedition of 1911-12. Photographed during the Second Wild Wa Expedition. Photographed miles beyond Kalimpong Bazaar on the road to Pedong. Photographers uncertain. Probably photographed in Afghanistan. Photograph of actual specimen, uncoloured.[Albumen print, 293x188mm]. Photograph of a young toddy drawer demonstrating the method of climbing trees by the use of rope slings.[Silver printing-out paper, 76x134mm]. Photograph of the same pair seen in Print 11. Photograph of two pieces of embroidery: (1) 18th century Kucha work, a circular plaque of gold thread embroidery on green velvet, from a robe, (2) Khotan work, red chain-stitch embroidery on cotton cloth, from a woman's trouser leg: 'Note Persian flower pattern combined with Chinese waves. Chain-stitch is Turkish'.[Gelatin silver print, 290x243mm]. Photograph of woodcarving in the form of a tiered roof with intricate decoration.[Albumen print, blind-stamped 'P. Klier Rangoon', 216x275mm]. Photograph possibly taken in Assam. Photograph probably by Tanner, possibly by William Robert Houghton. Full-length portrait. 'The Belochee is sitting and the Sindee standing, and their appearance is very different. The roughly tied large turban, the unkempt hair, and the wild, though handsome features, mark the Belochee. The cap, the full trousers, and the scarf thrown around the upper half of the body, which is naked, and the less marked features strongly show the Sindee, who was originally a Hindoo, till the Mahomedans gathered all, or most, in Sind, into their religious fold.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length portrait od three figures, two seated, one standing. 'Two groups of minstrels are given; in the first picture, No. 334, the boy and one of the men may be singing, the other is playing upon a pipe made out of a gourd, with keyholes below. It has a sweet soft tone, and in India is only used by serpent charmers....' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length portrait of three figures, two seated, one standing, playing instruments. 'In the second group the three minstrels are playing; the centre one on a small flageolet, the man on the left on a sitar, which has wire strings and frets, and the man on the right on a drum, which he plays with his fingers as an accompaniment to the other instruments. The general effect is not unpleasing, and some of the airs have pretty and plaintive melody.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length portrait of three holding matchlocks, two seated, central figure standing. '...The Jokyas represented belong to the police, and are armed in the usual manner. It will be seen at a glance how widely their features differ from those of real Mahomedan tribes, how they utterly lack the comeliness and dignity of the Belochees. It is very probable that they intermarry in their own tribe exclusively, and thus the ancient Hindoo physiognomy, in this case a remarkably ugly type, has been preserved.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length portrait of two figures, one standing, one seated. The two prints of Lohana Amils (323 and 323b) have been mounted in the wrong order. The letterpress describing the second photograph therefore refers to this image: 'The second photograph is of Amils who had risen to the rank of deewans under the Ameers, and are good specimens of the elder grades of the Lohana Amils.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length portrait of two women, one seated and one standing, with wicker baskets. 'These women may also be Mohanas, wives of fishermen; but are not so designated in the official list, and the plate affords nothing that requires special explanation. They are coarse, hard featured women. One has apparently sold her stock, as her basket is empty, and she has risen; the other has still some fish to sell, and is seated behind her basket...' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length standing portrait, with net and other tools of his trade. 'In the photographs [337 and 337b] both the men are shown holding their nets with their triangular wooden frames, to which the net is attached. Plate 337-2 [337b] shows also the large earthen vessel which is their support in the water, where it is placed mouth downwards; and the fisherman, lying upon it on his stomach, strikes out into the stream in quest of prey. Much strength and dexterity is required in the management of the net, and in taking out the fish when caught; but the man is master of his craft. The fish best caught in the Indus is the palla, which is rich and delicate, with something the flavour, in season, of the salmon. The nets shown are especially used for the capture of the palla.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length standing portrait. 'Photograph 326-2 [326b] requires no particular description. It is of a Shikaree woman, who, like most of her sisters, is mean-looking, if not forbidding. Yet in their youth some Shikaree girls are pretty, and have lithe elegant figures, and Captain Burton speaks to some extent of their personal attractions in Sind.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length standing portrait. 'The costume depicted is the ordinary one of the trading class...The figure photographed wears a large turban of white muslin, a tunic of the same, and a dhoty, or waistcloth, which reaches to the ancles. A short warm jacket is worn in the cold weather, and over it a scarf of white or coloured muslin, with borders and ends of silk or gold thread.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length standing portrait. 'The photograph gives a good idea of the woman of the lower class in Sind, who are not confined to the zenan, but go about unveiled. The girl has very pleasing features, of the ordinary Sindee, or as it may be called, aboriginal class, and has a tolerably fair complexion, with a fine, full figure. She is dressed in the usual chola, or shift, with loose trousers gathered at the ancle, and wears over her head and shoulders a plain white muslin scarf. Her hair is simply braided, and tied in a knot behind. The constraint in her attitude is, no doubt, owing to the arrangement of the photographer, combined with natural timidity. Throughout India the women of Sind - that is, the Sindees, not the Belochees - are held in almost proverbial and very low esteem for morality...' After quoting extensively from Burton's account, the letterpress summarily dismisses the subject with the closing sentence, 'They need not perhaps be pursued further.' Photograph probably by Tanner, possibly by William Robert Houghton. Full-length standing portrait. 'The plate represents a member of the clan fully armed for light service. His short matchlock, with its extremely curved stock, is remarkable. In other respects he is armed and dressed in the usual Beloch manner, with his long hair hanging about his shoulders.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait, one figure seated, one standing. 'The figures afford good representations of the ordinary idle Sindees, who frequent bazars without any ostensible object, except perhaps chance flirtations. They are therefore smart and rakish youths, though their looks are not in their favour. 'Light-hearted, vain, reckless creatures,' writes the describer of them, 'they may come to grief or to good, just as circumstances may turn the cards.' Their dress is a degag� turban, a loose kind of blouse, and very wide trousers called touban, with a scarf as usual over the shoulders...' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait, one figure standing, one seated. 'The Bhogtees inhabit a tract of extremely hilly and difficult country without, that is west of, the British frontier, north of Shikarpoor in Sind, and west of Mithenkote in the Punjab...The persons represented in the photograph are men of inferior position, but convey a good impression of the wild character of the clan. They are dressed in white, and the standing figure has a cloak of coarse white felt wrapped round him.' See Photo 143 (10) for another copy of this print. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait, two figures seated on carpet, one figure standing, all holding matchlocks. 'Although classed by many among the Belochees as part of the population of Belochistan, the Brahooees are yet a separate people. Their language is distinct, and they claim to be aborigines...They are more industrious and hard-working than the Belochees, less revengeful and quarrelsome, though not less courageous...The subject of the photographs 321 and 321-2 [321b] are groups of armed and unarmed Brahooees; fine athletic men, with a decidely national cast of features, differing from the Belochees and Afghans. The long locks of the younger men, which are objects of especial care, are remarkable characteristics of the tribe.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait, two figures seated on carpet, one figure standing. See note at print 321. See Photo 143 (16) for another copy of this print. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait. 'Plate 338-2 [338b] is that of a single figure, who wears a scarf of brown colour with a black pattern, red loose trousers, and yellow slippers. She also has the nose ring with gold ear-rings and necklaces. Sindee women do not appear to wear bangles or bracelets.' See note at print 338. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait of a standing woman and seated youth. 'The Babras are Jains, and come from Jodhpoor in Rajpootana, where they are numerous. Under the general title of 'Marwarrees,' these enterprising people are found in every part of India, as bankers, merchants, petty traders, and shopkeepers. The woman wears the costume of her class, a full petticoat and scarf, with heavy silver bracelets on her arms. Her son's costume is not Marwarree, and has been adopted from Sind.' See also Photo 972/4 (226). Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait of three figures, one standing, two seated on floor. 'The men represented in the photograph are evidently Afghans, wearing the national costume; and the type would be readily recognised in the caravanserai of Shikarpoor. The independence of character which seems to belong to these persons is, perhaps, not a very sound principle or feeling. The love of money would lead them to sacrifice honour or honesty on most occasions where unlawful gains were obtainable with impunity.' See Photo 143 (7) for another copy of this print. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait of three figures, two standing, one seated. '...the Shikaree...having no settled place of residence, roaming hither and thither, nominally a Moslem, but directed by his superstition to Hindoo shrines; an adept at snaring game, large and small, animals as well as birds; never working except at his hereditary trade, which is freedom itself. He speaks a language of his own, which is unintelligible to others except his brethren, and is undoubtedly, whether in India or in Sind, a remnant of some very ancient aboriginal tribe...' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait of three women, two seated, one standing. 'These Mohana women are courtezans common to the tribe of which an account has been given [see print 337]...It does not follow, however, that Mohanas do not marry, on the contrary many or most have wives, but these are courtezans notwithstanding...The photograph 338 gives a very characteristic group of the Mohana women, and the centre figure is not without personal attractions. Their costumes are as follows: the centre figure is dressed in a red scarf of fine transparent muslin, barred with gold thread, and edged with a broad gold tissue border. This is worn over a full gown or tunic of red muslin, and she has trousers underneath. The figure on the right wears a dark red saree picked out with green. That on the left a light pink scarf over a pink shift. They have all fair complexions with black eyes. Two of them wear the nuth, or nose ring, common to the country.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length portrait of two figures, one seated and one standing, holding embroidery samples. See note at print 331. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length seated portrait. 'An offshoot of this Abra tribe are Oonurs, who are numerous in the Larkhana and Sukkurkund districts...The old grey-bearded man represented in the photograph is a zemindar or landholder. He may reasonably lay claim to be acknowledged chief of the tribe. His residence is in the neighbourhood of Doulutpoor, on the right bank of the Indus, near Kotree.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length seated portrait. 'The Khosa tribe is very numerous in parts of Upper Sind, Kutchee, and the lower frontier of the Punjab; some, therefore, belong to Sind and some to the Punjab...Yuroo Khan, the subject of the photograph, belongs to Sind; he was a jemadar, or native lieutenant, of guides attached to the frontier field force. He is now pensioned for his gallant conduct in action, and the loss of one of his eyes...Yuroo is about five feet ten inches in height, of swarthy complexion, and having dark-grey eyes. He wears a yellow neemcha, or short jacket of quilted silk over his white dress, and a waistband with fringed ends.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait, holding matchlock. 'The Gaboles, though a separate clan and Belochees, do not belong to the frontier system. They were servants of the Ameers, and employed to garrison the hill forts in the western mountains, where they held rent-free lands for their services. They are a characteristic race, and have marked and peculiar features, with an independence of manner which is striking and agreeable. The person represented is five feet ten inches in height, has a fair complexion and dark grey eyes. His dress is entirely white, and does not differ fromthat of other Belochees.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait, in uniform. 'Dad Mahomed is a Risaldar, or officer of rank, in the Jekranee horse, paid by the British Government. They are called Beloch guides, and are attached to the frontier field force at Jacobabad...The Beloch guides wear their native dress and arms, and in the present case both are handsome; the turban being of purple silk, and the scarf and waistband of green and red silk striped. The arms are sword, shield, and light matchlock, with pistols in the girdle.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait, in uniform. 'The 2nd Beluch regiment was raised at the same period as the 1st, and is composed of similar materials, Belochees and Afghans. It served in the Perisan Expeditionary Force, on which occasion in won high repute. It is stationed at Hyderabad, in Sind, and under recent arrangements has become the 29th Bombay native infantry.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait, in uniform. See note at print 327. '...The private, Shere Mahomed Khan, No. 327-2, is a Pathan of Kandahar, of the Populzye division of Afghans. Their dress has not the flowing contour or the picturesque colour of the Afghan of Beloch costume; but who can say that it is inelegant, or that it does not suit the stalwart forms of the gallant wearers? while the gratification is added that these, once our fierce enemies, have been converted by discipline into some of the bravest of Her Majesty's soldiers...' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait, with net and other tools of his trade. See note at print 337. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait, with servant seated beside him. 'Gholam Ali, the subject of the photograph, may be considered the present recognized chief of the Jekranee tribe...Gholam Ali, when the photograph was taken, was about thirty-one years of age, of a fine commanding presence and dignified demeanour, and resided at Janadeyra, near Jacobabad, where he has an estate. His height is five feet nine inches; his complexion fair, with dark eyes. His dress is a white turban and clothes, with a handsome scarf of red and green silk. The chief is fully accoutred with matchlock, sword, and shield, and forms another specimen of the martial Belochees. The long wild locks of the attendant are frequently met with among the Belochees, and others of the Sind people. Some of them are curly and magnificent, but they give the wearers a very wild aspect.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait, with sword, shield and matchlock. 'The Jemallees are a minor Beloch tribe who have no particular location or possession. They are not predatory, but are cultivators, and some of them artisans...Door Mahomed, 'the pearl of Mahomed,' is five feet eight inches in height, a powerful man, well armed after the national fashion, and as he bears arms, may be one of the guides or local police. He wears a large white turban, and over his white dress a short yellow jacket, embroidered, which is called neemcha. His matchlock, sabre, and shield, are of the usual Beloch character.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait: 'The principal class of dancing women in Sind is called Kanyari. Each has her own house, and is usually married pro forma to one of her musicians; but all are courtezans. Dancing women attend, as an indispensable part of the ceremony, all festive rejoicings public and private, and are rewarded according to their skill and reputation...The figure represented is in undress. She wears the ordinary under shift embroidered, full loose trousers, and a scarf over all. On her arms are the curious ivory rings, which reach from the wrist nearly to the elbow, and are worn instead of the glass bangles used by the women of India. On her ancles she has heavy gold or silver bangles, worn over her trousers.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait. '...A man of peaceful pursuits is shown, with a timid little daughter, glancing upwards with her large soft eyes. The subject is altogether very charming and picturesque, and the attitudes and costumes of father and daughter admirably given.' See also print 287. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait. 'The Guddras...are not Belochees, but an Arabian tribe which settled in Lus probably in the first period of the Mahomedan occupation of Sind and Mekran. There are 600 of them among the military retainers of the Jam, and the photograph gives a fine specimen of the tribe...The subject of the photograph is dressed in a blue robe of coarse cotton cloth, with a white turban, whose heavy folds hanging over his left shoulder with heavy masses of hair, give hima strangely wild and remarkable appearance. His large waistband is of white cotton cloth. His height was five feet seven inches.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait. 'The Nareja os one of the oldest of Sind tribes, and may be found in Lower Sind, Upper Sind, or Khyrpoor. He is petty merchant, cultivator, or Government employee. The subject of the photograph wears the ordinary employee dress - the peirahun, or muslin shirt, a scarf round the shoulders, and loose shalwars, or trousers, with pointed shoes...There is no mistaking the ancient Hindoo physiognomy of the class - broad, fat, lethargic, and sensual, and the gait heavy and shambling...he is more ignorant and debased now, perhaps, than his ancestors were as Hindoos, before their conversion to the Mahomedan faith...' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait. 'The person represented is a Jutt of Upper sind, and is distinguished by the long yellow leather posteen, or jacket of sheepskin with the wool inside, which belongs to his tribe. His large turban and under dress are white. He is five feet eleven inches in height, and is of a fair complexion.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait. 'The photograph represents an Afghan fruit dealer, who has accompanied a caravan to Sind. His costume and appearance are unmistakable. He has melons, pears, apples, and grapes for sale, and the fruit is carefully packed with cotton in round boxes...' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait. 'The Ponhars belong to one of the most ancient, and formerly most powerful, of the local Sindee tribes; but the period of their conversion to Mahomedanism is unknown...The Ponhars remain distinct from the Narejas, and have maintained a more military character...The dress of the Ponhar shown is very similar to that of the Nareja; but he wears his scarf over both shoulders. The features have not the impressive character of the Belochees, but they have more force than those of the Narejas. The Ponhars at present are not a military class, but are persevering and industrious, and perfectly peaceful subjects.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Full-length standing portrait. 'This picturesque figure represents a member of the Kakur tribe or clan of Afghans, who in Sind are considered the most aristocratic of their people...The person represented is in full Afghan winter costume,and wears a posteen, or cloth cloak, lined with sheeps' wool, forming a most comfortable wrapper.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Portrait of four figures, two standing, two seated, posed with examples of their work. 'The art of embroidery in Sind is largely followed by a class of Mahomedans, who are very skilful and industrious workmen. It is done on muslin, silk, velvet, and cloth, and in gold and silver thread, and silk braid, in a variety of styles, and very elegant and ingenious designs. Hyderabad is perhaps the chief seate of manufacture, and it is not for the province only, but since the British conquest, has extended to articles of English demand and use, scarves, jackets, footstools, table-cloths and the like. The Sindee embroidery has a character of its own, and is easily recognizable and distinguished from that of Delhi, Lahore, and Cashmere, which are in many instances more beautiful and varied.The art in Sind is confined to certain families of Mahomedans, and the women work at it as skilfully as the men. In England, Sindee emroidery has become known at the last exhibition in London; and to the old man represented in the photograph was awarded the prize medal. The India Museum exhibits many specimens of this beautiful art, remarkable for brilliancy and good taste of colour, elegant patterns, and neat execution. Photograph probably by Tanner, possibly by William Robert Houghton. Oval image.Three-quarter length portrait. 'This old Brahooee beggar has little about him characteristic of his tribe...The subject of the photograph does not appear to be a religious devotee, or fakeer, as he has not a dress or mark of any order: a poor man, only too old and decrepid, perhaps, to reach his native country over the rugged passes he would have to traverse. He is dressed in dingy white drawers, and a sheet or scarf covers the upper part of his body. His sandals hang to his left hand, and his staff leans on his shoulder; otherwise there is nothing remarkable in the figure but its picturesque ruggedness.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Three-quarter length portrait of three figures, one standing, two seated. The two prints of Lohana Amils (323 and 323b) have been mounted in the wrong order. 'Captain Burton [History of Sind (1847)] draws a very unfavourable character of these persons, who held office under the Ameers as managers of provinces, and in other administrative capacities...The individual seated on the right of the picture is Munga Ram, head moonshee in the office of the Commissioner of Sind...His integrity has been hitherto unquestioned as his hard work has been unmistakeable. He is a very worthy public servant. In the centre of the picture, standing, is Odha Ram, translator to the Commissioner's office, who has studied English sufficiently to make him the best Sindee teacher in the province...The boy on the left is now an English clerk in the Commissioner's office, who does credit to the Hyderabad English school in which he was educated.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Three-quarter length standing portrait, in uniform. 'These photographs illustrate the local regiments which were raised in Sind by Sir Charles Napier, after the conquest of the province. One is of a naik, or corporal, the other [327b] of a private. The uniform is green, with red binding, turban dark blue, drawn round a red skull-cap in ample folds; accoutrements brown leather...The corporal, Wazeer Khan, No. 237, is a Beloch of the Rind tribe, of whom there are many in the regiment...' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Three-quarter length standing portrait. 'His figure is...eminently characteristic and picturesque. The white turban, tied round the silk handkerchief, which keeps together the long white hair; the capacious loongee, or scarf, wound round the chest and waist,and the flowered chintz chogha, or gown, combine, with the long white beard and fine features, to present a singular and not uninteresting figure...' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Three-quarter length standing portrait. 'The Mhars inhabit the skirts of the desert south of Bhawulpoor, and are a very ancient tribe, originally Hindoos...They are for the most part peaceable cultivators and herdsmen, breeding cattle and sheep; and though probably not free from a taint of violence, yet do not appear inthe reports of the frontier tribes as engaged in predatory warfare...The figure photographed is a very humble member of the Mhar tribe, but a characteristic specimen. By his stout staff and scanty clothing he may be presumed to be a herdsman or cultivator.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Three-quarter length standing portrait. 'The subject of the photograph is a landholder near Hyderabad, possessing a comfortable property. All the Syuds [ie descendants of the Prophet] of Sind are of the Sheea sect.' Photograph probably by Tanner, possibly by William Robert Houghton. Oval image. Three-quarter-length standing profile portrait. 'The Kahirees do not at any time appear to have been concerned in the outrageous conduct of their neighbours, and, although undoubted Belochees, they are peaceful herdsmen and cultivators. Their chief, Itibar Khan, a noble figure, is five feet ten inches in height, with fair complexion and dark eyes. He wears a red turban with green border, a red chogha, and a red and green scarf; a costume as handsome as it is becoming.' Photograph probably by Tanner, possibly by William Robert Houghton. Portrait of two men and a boy, one figure seated with scales. 'The dealers in grain are not an exclusive class in Sind, but belong to the extensive family of the Lohanas...' Photograph probably by Tanner. Full-length seated portrait. 'This fine old man is the chief of the Khananee branch of the Talpoors; in the settlement of the province his large estates were confirmed to him...and the family is in easy circumstances. The chief resides at the town of Jam-ka-Tanda, a village named after his father Meer Jam: his estates lie within the Hyderabad collectorate.' Photograph probably by Tanner. Full-length standing portrait, the attendant seated on the floor beside him. 'Is the father of Khan Mahomed Thora, last noticed. His likeness to his son, and noble presence are very remarkable...' Photograph probably by Tanner. Oval image. Full-length portrait, one figure standing, the other seated on the floor. 'The Muzarees represented in the photograph are Ghazee Khan who is standing, and lives at Kusmore, near the Indus, on the north-east of the frontier district of Sind, and his son. The former is five feet ten inches in height, with dark eyes and complexion. His dress is a white turban, plain cloth chogha or coat, over a muslin tunic, yellow shoes, and a belt: a loungee or scarf over his right shoulder and breast, with gold thread border and ends. His son wears a yellow chogha, with a red pattern on it, and holds a long matchlock in his left hand. His father carries a sword and shield.' Photograph probably by Tanner. Oval image. Full-length portrait, seated beside a table. 'Is the son of Mirza Khosroo, deceased, who, a Georgian by birth...rose under the Ameers of Sind to high distinction...The subject of the photograph is the eldest son of Mirza Khosroo, an active and very intelligent young man, who entered the local civil service after the conquest of Sind, and is now an assistant collector, bearing a high character.' Photograph probably by Tanner. Oval image. Full-length portrait. 'In the photograph the person sitting in the chair is Syud Khair Shah, the kardar or manager of the town of Jacobabad...Syud Khair Shah received the title of Khan Bahadoor from the British Government, for his services during the mutiny. By birth he is Sindee, and native of Shikarpoor...Standing up, is Syud Mosun Shah Bukharee, who is kotwal or head of the police of the town, and manager of shops and markets. Both are fine athletic men, about six feet in height. Khair Shah wears a bright orange upper coat: the other, one of green...They are faithful servants of Government, and held in much local esteem.' Photograph probably by Tanner. Oval image. Full-length portrait of three figures, two seated, one standing in centre. 'Although the subjects of this plate reside in Lower Sind, and hold large grants of land, conferred on them by the Ameers of Sind, and confirmed by the British Government, they belong to the independent frontier tribe of the Ketranees...Gholam Mahomed and his brothers enjoyed much personal influence with, and under the Ameers, and have settled into private gentlemen, in which capacity they are much respected.' Photograph probably by Tanner. Oval image. Full-length portrait of three figures, two seated, the central one standing. '...On the right is Meer Futteh Khan, eldest son of H.H. Shere Mahomed, of Meerpoor, the last of the Talpoor chiefs who withstood the British...He is stated to have no great abilities, but to be active and zealous in all he undertakes...The figure to the left is his brother, the youngest son of the ex-Ameer, and standing between them is Meer Thora Khan, who is married to their sister. The family is supported by pensions from the British Government of India, and are allowed to reside in Sind.' Photograph probably by Tanner. Oval image. Full-length portrait of two men, one seated, one standing. '...The Boordees are now considered peaceable and well-disposed cultivators...Khair Mahomed is the seated figure in the plate, and wears a white turban, and brown chogha, carrying the usual Beloch arms, sword, shield, and matchlock. The attendant, standing and unarmed, is dressed in white.' See Photo 143 (6) for another copy of this print. Photograph probably by Tanner. Oval image. Full-length seated portrait, holding small shield and with matchlock propped beside him. ' After Sir C. Napier's hill campaign in 1845, that portion of the Doomkee tribe which had surrendered to him at Trukkee, was placed under a chief by name Jumal Khan, the subject of the illustration, on lands near Jandeyra, on the Sind frontier...Jumal Khan is a chief of his tribe, and lives at Jumal, about three miles south-east of Jacobabad, where he has a considerable property. A fine-looking man, five feet ten inches in height, dressed in a voluminous chogha, with a handsome loongee, or scarf, of red and green silk about his shoulders, and a white turban. His matchlock leans against the pillar, and is richly ornamented, and its powder horns, bullet bags, and other accoutrements hang before him, while the sword and shield are not absent.' Photograph probably by Tanner. Oval image. Full-length seated portrait. '...The son of Meer Jan Mahomed killed in the battle of Meeanee...He is possessed of considerable estates...The dress of this person is very rich and handsome. His jacket shows the peculiar embroidery of Sind in gold braid, and is worn over a tunic of white muslin, the full trousers are of striped satin. The long heavy sabre is peculiar to Sind, and is worn by all classes of Belochees, who may be privileged to carry arms...' Photograph probably by Tanner. Oval image. Full-length seated portrait. 'The subject of the photograph is a smallholder with a small estate; a person of no great consequence, but a quiet and respectable member of his tribe. He wears a handsome chintz upper coat, or chogha, and a large white truban of muslin, instead of the cap common to Sind.' Photograph probably by Tanner. Oval image. Full-length seated portrait. Photograph probably by Tanner. Oval image. Full-length seated portrait of the two men, with a third figure, presumably an attendant, standing between them. 'The Nawab is the chief of the Junudanee branch of the Talpoor family, and is a most intelligent and highly respected person. When the Talpoors...His son-in-law, Khair Mahomed, an extremely handsome man, and a fine specimen of the late ruling family, resides with him, but takes no part in public affairs.' Photograph probably by Tanner. Oval image. Full-length seated portrait of the two older men, with a servant standing between. Photograph probably by Tanner. Oval image. Full-length standing portrait. 'A gentleman of Persian descent...who had great political influence at the Court of the Ameers, and whose name occurs frequently in the Sind blue books...and frequently acted as envoy in communication between the Ameers and the British...It will be seen that his costume differs in some respects from that of ordinary Sind gentlemen. His cap, covered with cloth of gold, is rather Georgian than Persian, and he wears a short jacket of cloth of gold over the ordinary silk tunic. A Cashmere shawl is thrown over his left shoulder and arms. His handsome features show a decidedly Persian or Georgian origin, and it is probable the family has preserved its purity by avoiding intermarriage with ladies of Sind.' Photograph probably by Tanner. Oval image. Full-length standing portrait. 'The Boorgarees are a minor tribe of the Belochees, connected with the late ruling family, the Talpoors. They have no especial location or possession in Sind, and are found in many parts of the province...The figure represented is remarkable for the large size of his kumur-bund or waistband, composed of shawls rolled round him in a peculiar manner, common to his people. Otherwise his dress is very plain for a Beloch.' Photograph probably by Tanner. Oval image. Full-length standing portrait. 'The Rinds are one of the most ancient, if not the most ancient and pure, Beloch tribe in Sind...The Rind photographed is a man of no importance, but is a fine specimen of the warlike Belochees who fought so bravely at Meeanee and Dubha. He wears the national arms, and costume of the Beloch guides and others in the pay of Government on the northern frontier. Underneath, a white tunic of cotton cloth, white cotton trousers gathered at the ancles; over these an embroidered vest, and an outer jacket of cloth or velvet, also embroidered and with very short sleeves. Round his waist is tied a handsome silk scarf, with ends of gay colours and gold thread intermingled, which, with his arms, shield, and voluminous white turban, completes a costume, as handsome and picturesque, as it is becoming to its wearer.' Photograph probably by Tanner. Oval image. Full-length standing portrait. 'The subject of the photograph is the most influential of the Syuds of Tattah, a celebrated religious family held in much local veneration and esteem, and who are supported by a yearly grant from Government of about �600 sterling. He is a member of the Municipal Committee of Tattah, and has otherwise much personal intercourse with Government officers.' Photograph probably by Tanner. Oval image. Full-length standing portrait. 'This person, a fine and handsome specimen of the Sind Belochees, is Mullik, or chief, of the whole tribe of Noomryas...Sirdar Khan is a good specimen of the Belochees who fought so bravely against us at Meeanmee and Dubha; a powerful, athletic young man, with an open, pleasant countenance. His costume is singularly picturesque, the embroidered cloak, or chogah, hanging over the simple muslin tunic beneath, with its full sleeves reaching to his elbows. His arms are the long, heavy Beloch sabre, and a matchlock, the stock of which is of the usual curved form common to the people of Belochistan...The Noomryas are Mahomedans of the Soonnee sect, and are strict, if not bigoted in its observance. Though all wear arms, they are industrious and peaceable cultivators and herdsmen: they are not given, like most Belochees, to marauding and thieving, and live quietly within their boundaries. Sirdar Khan is a faithful subject, and is much respected by his people and the officers with whom he has official connection.' See Photo 143 (4) for another copy of this print. Photograph probably by Tanner. Oval image. Portrait of three seated figures. 'The centre figure, Danja Khan, is a sirdar, or chief of his tribe, though not the head...and bears a high character for honesty and hard work. The person sitting on the ground to his proper left is Ahmed Khan Nizamee, whose estate near Hyderabad was confirmed tohim by the British Government. On the proper right of Danja Khan, the seated figure is that of Jaffur Khan, a member of the same tribe, who is also in the local civil service of the British Government...' Photograph probably by Tanner. Oval image. Three-quarter length standing portrait. 'The Mirza, who is a native of Shiraz, in Persia, came to Sind after the establishment of British rule, in the profession of a merchant; but, being a well-educated man, commenced to give instruction in the Persian language. Subsequntly he entered the native civil service...and finally rose to be Foujdar, or chief police officer, of Hyderabad. He is a zealous public servant, and bears a high character.' Photograph probably by Tanner. Oval image. Three-quarter length standing portrait. 'The person represented wears a kurti, or coat of quilted silk as a cweather dress, not unlike an English dressing-gown; over it is a bulky kumur-bund, or waistband, tightly wound round the person, over which is the soft leather sword-belt; the usual Sindee cap completes the dress. Ahmed Khan, the subject of the photograph...possesses a jahgeer, or estate, in the Hyderabad collectorate.' Photograph probably by Tanner. Seated portrait with attendant standing to left. '...The Talpoor family were the last who possessed sovereign power [in Sindh]...The Talpoors, originally a Beloch family, settled in Sind early in the last century, and were military retainers of the Kulora dynasty...It is stated of him {Mir Yar Mahomed], that, though in ill health, he is an agreeable companion; is much in the society of English officers, and has made a very interesting collection of coins of different periods in Eastern history...The Sind costume, it will be observed, does not materially differ from the Mahomedan dress of India, except in the cap, which, richly embroidered or plain, is peculiar to the Belochees and other inhabitants of Sind.' Photograph probably by Tanner. Three-quarter length standing portrait. '...Alla Dad Khan, the subject of the photograph, is also in the British civil service in Sind, and is Mookhtyarkar, or head district official at Sehwan...highly respected...' Photograph taken a few moments after print 11, the man with left arm held aloft to display skewer inserted in abdomen.Original whole-plate glass negative at Mss Eur F222/47. There is also a further glass negative, for which no print has been traced, taken within a few moments of this photograph.[Sepia-toned bromide print, 252x303mm]. Photograph taken on the same occasion as print 34.[Printing-out paper, 58x45mm]. Photograph unsigned, probably by Shepherd & Robertson. Seated group, one figure holding a small hookah. 'The present subject can hardly fail to be acceptable, not only from the beauty and grace of the photograph, but as an illustration of a party of well-to-do zemindars. The word zemindar means literally holder of land, and these are probably respectable Jat farmers, who are amusing themselves with a game at puchees, which in all parts of India is universal...Three of the party are apparently intent upon the game, and the elder and the figure on his proper right are giving their advice. There is nothing particular in the dresses of these men. They are obviously of a comfortable class, as they all wear tunics. In short, the scene and the figures are of every day life, without restraint, and as such are welcome additions to these illustrations of native life in India Pile of torches formed from bundles of leaves. Pilgrims posed with their mules, presumably near Lhasa: 'Big fur hats, sheepskin coats lined with fur, leather boots. Behind them, their mules, one of which carries their food and bedding.' Players seated at a board set on a low table in the open air. Poba group with bundles of madder resting on hillside. Poorish quality. Poor quality. Poor quality image. Full-length standing portrait of two men. 'No official report accompanies the photographs of the Yenadies, nor any description of their habits and customs...The photograph shows this tribe to be squalid, and in the last degree uninfluenced by the civilization with which they are in contact...It is hoped that Indian ethnologists and philologists will by degrees complete the investigations in which they have been so long engaged, in regard to the various dialects of the most ancient inhabitants of India, who, under all changes and revolutions from the Aryan invasion downwards, seem to have been affected by no change or civilization.' Poor quality print: chemical staining. Poor quality print. Reproduced as No 114 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Poor quality print. Poor quality print. Poor quality print. Poor quality Portait of a Tibetan man and woman.[Gelatin silver print, 79x130mm]. Porter carrying luggage on a rocky hillside. Porter photographed in a mountain pass. Porters climbing a steep road. Porters on the road.[Silver printing-out paper, 103x76mm]. Portrait at the roadside of a group of Akha (also known as Kaw) men and women. The men's clothing is similar to Shan or Chinese dress, the women's much more distinctive. Portrait of a Chinese man carrying firewood on a yoke carried across his shoulders.[Albumen print, 208x135mm]. Portrait of a Chin girl. Portrait of a couple and baby. Portrait of a father and three children. Portrait of a girl, also seen in Print 52. Portrait of a girl. Portrait of a girl brushing her hair. Portrait of a girl carrying a basket. Portrait of a girl sitting on a chair. Portrait of a girl sowing kodon (millet) seed.. Portrait of a girl using a basket as a sun shade. Portrait of a group of men, women and children.[Printing-out paper, 77x98mm]. Portrait of a group of Tibetan dancers and musicians. Portrait of a group of women and children. Portrait of a Gujar (?) man. Portrait of a Gujar man with mountain in the background. Portrait of a hill porter. Portrait of a Himalayan guide? Full-length standing portrait. His left arm leaning on a rock, his right holding a sword. Portrait of a Kachin girl sitting at a loom. Portrait of a Kachin man armed with a spear and shield. Portrait of a Kadan girl. Portrait of a Kashmiri woman. Portrait of a lama standing at the wayside. Portrait of a Lepcha woman. Portrait of a man. Dasahara? Portrait of a man. Portrait of a man. Portrait of a man. Portrait of a man and woman. Portrait of a man at prayer. Portrait of a man attending the fair. Dasahara? Portrait of a man by a river with a brass bowl. Portrait of a man carrying a brass pot. Portrait of a man carrying a pole supporting two water pots. Portrait of a man carrying long strips of timber on his back. Portrait of a man carrying weapons. Portrait of a man crouched on the ground holding a machete to his head. Portrait of a man holding a bow and arrow. Portrait of a man holding a child. Portrait of a man holding scales. Portrait of a man on a camel. Portrait of a man painted in tiger stripes and wearing a mask. Portrait of a man seated with a brass pot (see also Print 99). Portrait of a man sitting behind a basket laden with different sweets. Portrait of a man sitting in a chair holding a sword, a younger man stands behind. Possibly a local chief or military officer. Portrait of a man sitting on a mule. Portrait of a man sittin g on the floor. Portrait of a man sitting with a dead fox(?). The term 'Doom' is perhaps a variant of Dome, the name of a low-caste Hindu group. Portrait of a man sitting with an open book. Portrait of a man smoking a hookah with fellow officers. 'Tongal' may be an alternative spelling of Tankul, a name given to a Naga tribe in Manipur or may simply refer to a location in the state. Portrait of a man with a hand-held appliance used in cotton processing. Portrait of a Maru elder carrying a shield on his back. Portrait of a militiaman. Portrait of a monk. Portrait of a monk. Portrait of a monk holding a ceremonial horn. Portrait of a mother and four children. Portrait of an Abor man. Portrait of a Naga man and woman, posed on the same verandah seen in print 30.[Gelatin silver print, 102x133mm]. Portrait of a Naga warrior posed with a collection of arms and armour. Portrait of an Arab boy carrying a basket on his head. Portrait of an Arab man holding beads. Portrait of an armed Chinese man. Portrait of an armed tribesman. Portrait of an armed tribesman. Portrait of an ascetic. Portrait of an ascetic (Sadhu?) sitting cross-legged. Portrait of an egd Sadhu seated on a mat, with another figure standing behind him.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 287x214mm]. Portrait of an Indian girl. Portrait of an Indian man. Portrait of an Indian man. Portrait of an Indian man. The caption is unclear. Portrait of an Indian man. The meaning behind the caption is unclear. Portrait of an Indian woman carrying water pots on her head. Portrait of an unidentified Burmese chief, with two wives and retainers holsing spears. One retainer hold a ceremonial umbrella over the ruler. Portrait of a Parsi man. Portrait of a Shan couple selling produce in a bazaar. Portrait of a Shan food seller, standing in front of the moat at Mandalay, carrying small wooden tables slung across his shoulders from a yoke.[Albumen print, 210x251mm]. Portrait of a squatting woman, ethnic group unidentified. Oval image. Portrait of a sword-swallower. Portrait of a Tibetan couple. Portrait of a Tibetan monk holding a long horn. This is a photogravure published by Bourne & Shepherd in 1905 as part of a set. This is No 107. Portrait of a Tibetan woman. Portrait of a Tibetan woman. Portrait of a veiled woman. Portrait of a warrior with traditional weapons. Portrait of a woman. Portrait of a woman. Portrait of a woman. Portrait of a woman and child. Portrait of a woman and family. Portrait of a woman at the roadside. Portrait of a woman carrying a child. Possibly a Scowen & Co photograph. Portrait of a woman dressed for the fair. Dasahara? Portrait of a woman holding a child. Portrait of a woman holding an umbrella. Portrait of a woman in purdah, sitting on a bullock. Portrait of a woman playing a drum and a man with a violin. Portrait of a woman spinning outside a dwelling. Duplicate at Print 122. Portrait of a woman with a tattooed face. Portrait of a young Indian woman. Portrait of a young Kol woman. Oval print, very faded. Portrait of a young Lushai woman standing in the road smoking a pipe. Portrait of a young woman. Portrait of a young woman carrying pots. Portrait of Bremson (headman of Bomjur) and his wife, standing in front of thatched houses. A portrait evidently taken on the same occasion as print 18, where the location is given as Nizamghat. Portrait of eight men. Portrait of figure seated on trolley. Oval image. 'Tun Sookh Doss...is a Bairagi or Hindoo religious mendicant. Has dark eyes and white hair, wears a cloth about his loins, and a basket cap on his head. He is a resident of Fyzabad in Oude, and has been dragged from thence to the Mela-Magh Fair at Allahabad. He is one of the class sometimes, but improperly, called Fakir, who live by charity, is forty-two years of age, and was born with his legs behind his back, as shewn int he photograph...' Portrait of five figures seated around a table. A faded print. The figures are identified as follows: No. 1, Sheikh Khyrooddeen Ahmud Buhadoor, Deputy Magistrate, Deputy Collector and Secretary to the Municipal Committee; No. 2, Lalla Luchminarain, a Khutri, head of a large banking firm in Bareilly; No. 3, Nawab Neamut Khan; No.4, Rajah Khyratee Loll, a Khayet, large landholder in the Bareilly District; No. 5, Moonshe Buldeo Singh, a Khayet, large landholder; No. 6, Gujadhur Loll, a Bunnea and large sugar manufacturer and banker of Bareilly. Portrait of five men standing in front of a house. Portrait of five men with bows and arrows. Portrait of five tribesmen sitting in front of a tent. Another copy of this photograph can be found at Photo 1143/1 (21). For a note on the photographer attribution, see collection introduction. Portrait of four boys dressed as coachmen. Portrait of four men in leg-irons. Another copy at Photo 680(2). Portrait of four men seated on a rug. Portrait of four Waziri tribesmen. See notes with Print 2. Portrait of four women and a baby. Portrait of group seated on steps of a well. Portrait of Indian officers and men, probably a local unit of the Meywar Bhil Corps. The caption is a reference to the apparant civilising influence of military life on the Bhils, seen in relation to the adjacent photographs of allegedly criminal gangs. Portrait of man and woman. '...the excellent photograph of Lieutenant Waterhouse cannot be passed by, as the figures are so essentially characteristic and excellent. The man wears a red and white turban, awhite tunic and dhoty, and a red scarf over his shoulders. He is sitting on his feet closed together, a posture peculair to Brinjaries, leaning on his spear shaft, and his hookah stands by him; his sword is across his knees. He is five feet six inches in height, and thirty years old. The woman is Rattan, five feet two inches in height, and fifty years old, whose dress is thus detailed:-red printed sari, red petticoat, and blue waistband; she wears a great many ornaments, a gold or gilt ring through the nose, massive silver ear ornaments, silver and gold chains and neck ornaments, silver bracelets and anklets, and the high comb peculiar to the Brinjari women. Wherever they are met with all over India, the Brinjaries are the same; neither they, nor their costumes or occupation, alter in the least...' Portrait of man armed with a spear and shield. The term 'Fuzzy' was a derogatory remark used by the British to describe the Sudanese. Portrait of man wearing broad woven hat. Portrait of six Bhil men armed with bows and arrows, their faces covered. This photograph has clearly been staged, the men carefully posed. Portrait of six young women. Portrait of Tchebu Lama and two attendants. Caption continues: 'He was invariably dressed in yellow satin with his beads in his hand'. Portrait of the same man seen in Print 117, with his turban removed. Portrait of the two men also seen in print 20, here posed squatting in front of rocks. Portrait of the two women seen in print 50. In this view the womens' positions have been reversed, the one with the basket now facing the camera, her companion now looking away. Portrait of three actors. Portrait of three Burmese women, seated with examples of Burmese silk. Portrait of three children. Portrait of three figures. The man standing on the right, holding an umbrella, is the figure seen in print 67. Oval image. Portrait of three girls. Portrait of three ladies, seated on chairs in a park. Portrait of three local men includinga policeman(?). Portrait of three Mekirs with bundles of sticks. Portrait of three men. Portrait of three Tibetans sitting cross-legged on the ground. Portrait of three toddy drawers, standing with their earthenware pots for collecting the sap.[Silver printing-out paper, 76x133mm]. Portrait of three women. Reproduced as No 112 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Portrait of three young girls. 'Mahkawns' is the Jinghpaw term for young women. Portrait of three young women on a woodland path. Two seated, one standing.[Albumen print]. Portrait of two Abor girls. Portrait of two Bhil men, their faces covered. Portrait of two Bhils, armed with rifles.[Albumen print, 98x150mm]. Portrait of two elderly Indian women seated in front of a house. Portrait of two figures, kneeling on ground in front of tents. Faded print. Portrait of two girls. Portrait of two girls. Portrait of two girls. Typescript notes read: 'The little girl on the right is exactly like Jessie Matthews in real life (but not so like in this picture). These two got very friendly and were almost a nuisance (would have been if we had stayed longer)'. Portrait of two girls posed in mid-performance. Portrait of two Gosavi men (father and son?), one seated, one standing, against a photomontaged background of the Mahalakshmi Temple complex.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Portrait of two Gurkha women. Portrait of two hired porters. Portrait of two Kachin women, squatting ontheir haunches.[148x165mm]. Portrait of two Kirghiz women in traditional costume and head-dresses, seated on the ground.[Gelatin silver print, 239x159mm]. Portrait of two masked and costumed dancers and two drummers.[Platinum print, 277x228mm]. Portrait of two men, apparently loading a musket. Oval image. Portrait of two men, one standing in profile, one seated. Oval image. Portrait of two men, posed with pick-axes in front of a rock. These figures appeare to have been photographed at the same location as print 57. Oval print. Portrait of two men, smeared with wood ash. Portrait of two men. Portrait of two men. Portrait of two men and a woman. One of the men is having his ear cleaned by the other. 'This class is found all over the northern provinces. Their chief occupation is ear-cleaning and cupping...' Portrait of two men and two women, posed in front of a tree. They are characterized in the letterpress as being skilful gang robbers. Portrait of two men and two women, posed in front of foliage. 'The Aruks inhabit the northern part of Shahjehanpore, and are chiefly employed as village watchmen. They sing and dance in the marriage processions of the lower Hindoos. When not employed as watchmen, they are addicted to theft...' Portrait of two men seated cross-legged on a carpet. Oval image, faded. Portrait of two men squatting beside a path in a garden. 'Koeree is the name given in Behar and ther North-Western Provinces to a Hindoo caste, which, under different denominations in different provinces...is to be found all over India...The Koerees apply themselves chiefly to garden cultivation, in particular to that of the poppy, which they pursue with eminent success throughout Behar and Goruckpoor...The Koerees are pacific and industrious, and live on grain and vegetables of all kinds. They attain an average age.' Portrait of two musicians, one with a drum, the other playing a stringed instrument.[Silver printing-out paper, 120x97mm]. Portrait of two of Haughton's porters, one with a wicker basket on his back.[Silver printing-out paper, 98x120mm]. Portrait of two seated men. Oval image, faded. 'These peasants are residents of Jumnootri, or the source of the Jumna...The hill Rajpoots are not inferior to those of the plains in bravery, but they seldom take service, and subsist by farming and hunting, of which they are passionately fond. As a class they are somewhat unruly, but not difficult to manage, and are not given to crime of a serious character.' Portrait of two Shan women in a bazaar. Portrait of two Sindhi women seated on a camel being led by a man. Another copy at Photo 851/2(8). Portrait of two smiling men by the roadside. Portrait of two squatting figures. This photograph also appears as plate 21 of Sir Thomas Forsyth's 'Report of a mission to Yarkund in 1873' (Calcutta, 1875), which is illustrated with 102 original tipped-in prints and describes the mission sent to Yarkand for the purpose of concluding a commercial mission with the Amir of Yarkand and Kashgar. See also following print. Portrait of two Tibetan women in traditional dress, with onlookers in the background. Portrait of two Veddah men with bows and arrows. Portrait of two women, one seated. Portrait of two women, one standing on the right, the other squatting on the left holding a pot. Portrait of two women, similar to print 52. Poor quality. Portrait of two women. Dasahara? Portrait of two women. Portrait of two women in the hills. Portrait of two women pounding spices to prepare curry. Portrait of two women seated on a camel being led by a man. Another copy at Photo 940/1(29). Portrait of two workers, seated around a pot in which the cocoons are being soaked. Portrait of two young girls seated on a cart. Portrait of two young monks with food bowls.[Printing-out paper, 95x71mm]. Portrait of two young women. Portrait of two young women. Portrait of two young women. Portrait of woman holding rake and broom. Small, square format print. Portrait of youth before the ceremony.[Gelatin silver print, 59x87mm]. Portraits of a Hindu man, two Todas and a Tamil. Portraits of six Indian men, one described as a magician.. Portrait taken beside a river. Portrait taken in front of a house at Wuntho, showing the Wuntho Sawbwa's wife and child seated on the ground with food baskets. Attendants are ranged round the pair in a semi-circle and two servants hold umbrellas over the group. Portrait workers with the tools of their trades. Faded print, numbered '59' in the negative. Portraoit of two Indian men playing a game. Portraut of a man with a trained monkey. Portrsit of group of monks, some in masks and costume for a ceremonial dance, posed in front of the monastery. Also captioned 'Tibet. Hemis Monastery, Ladakh'.[Captioned and signed 'Holmes 230' in the negative, 293x240mm]. Posed family group, the two young men wearing European dress. 'Left to right, Mandal (same figure as in print 47), Mandal's brother (standing), Mandal's sister, Mandal's daughter, Mandal's wife, Mandal's son (standing), Mandal's father (Che-wang), who was Mandal but has now retired. The Mandal and his father are seated on European chairs, others on abench covered with parti-coloured cotton cloth. On ground in front a Tibetan rug on an Indian carpet.' Posed family group. Posed group, probably at Taunggyi. Blurred. Posed group, slightly blurred. Posed group. Print slightly retouched. Posed group. Posed group of dancers and orchestra. Posed group of eight men, arranged in two rows. Posed group of eight men. Innermost Asia, vol. 1, fig. 42: 'Group of Khushwaqts and Burish at Hondur, Yasin. Raja of Hondur (Khushwaqt) with two relatives, seated; behind, Burish cultivators.' Posed group of entertainers.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Posed group of farmers with two bullock drawn ploughs. The print is accompanied by handwritten notes giving a sketch of a typical plough and information on dimensions, method of operation, etc.[Printing-out paper, 274x211mm]. Posed group of five figures. Posed group of four men: '...The group represented in the photograph is a fair specimen of the lower classes of the tribe, when without arms, and acting as farm labourers or in other menial capacity.' Posed group of four men. A faded print. 'The group photographed shows a party of Chohan soldiers, armed in the native manner. The figure on the right has a broad shield at his back, which is slung over his left shoulder, and can be disengaged in a moment...The central figure is a matchlock man; the other two, ordinary swordsmen.' For a better quality copy of this photograph, see Photo 28/2 (31). Posed group of four Rajput goldsmiths seated on the ground. Posed group of four water carriers with their skin bags. Oval image. Posed group of four women with baskets of cow dung for use as fuel. Posed group of Kotas. Poor quality print, apparently retouched. Posed group of Mahsud men, armed with rifles. Posed group of Mishmis. Two figures are identified: Membong and Turu. Posed group of monks. Posed group of monks. Posed group of silk sellers in the bazaar. Posed group of soldiers. Posed group of ten figures, against a cloth backdrop. Posed group of ten subjects, against a cloth backdrop, with a rule showing scale. Posed group of three figures. The vessels for carrying water and made from two hollowed-out lengths of bamboo strapped together and carried on the back. Oval image. Posed group of Turki women, possibly staff at Chini Bagh.[Gelatin silver print, 251x198mm]. Posed group of villagers. Stereoscopic view. Posed group of villagers in front of houses. Stereoscopic view. Posed group of women and girls with water vessels. Posed group of Yang Hsek (Riang) women. Duplicate of Photo 92/8 (52). Posed in his stall with painted pots and vases. Posed portrait of five figures. The caption note (handwritten and pasted to the back of the print) continues: 'They all speak the same language and belong to the same race, but Hunza and Nagyr are hereditary foes, only combining against a foreign enemy. A river devides [sic] the countries of the Hunza and Nagyr, a Hunza fort being ever confronted with one of Nagyr on the opposite bank.' The Hunza-Nagar chiefships were situated in the extreme north-west of Kashmir, bordering on Gilgit in the south. Posed study of a farmer digging, with two squatting women watching. Printed from a heavily retouched negative, with the background blocked out. Posed study of a girl beside a stream with a water pot on her head.[Gelatin silver print, signed 'Bremner 98' in the negative, 201x286mm]. Posed study of a Kashmiri boatman poling his craft.[Gelatin silver print, with photographer's stamp and numbered '97' on reverse, 235x286mm]. Posed theatrical troupe, in costume. Second copy neg at B.6981. Posed with their instruments. Possibly a Nicholas & Co photograph. Possibly a Nicholas & Co print. In the List of Nicholas & Co's photographic views (Madras 1896), there is an Ootacamund print described as: 'Group of Todas'. Possibly by Beato. Possibly Nagas. Possibly photographed by Felice Beato? Possibly photographed by Felice Beato? Possibly photographed by Felice Beato? Possibly photographed by Felice Beato? Possibly photographed by Felice Beato? Possibly Tibetans or Bhutanese? View of a woman standing in a doorway holding her hands up, her face apparantly blackened with some pigment. Four figures crouch on the ground below her. Postcard, signed 'R.E.S.', possibly R.E. Shorter. Postcard. Postcard. Postcard. Postcard of a Madras man holding a child. Potrait of a woman at the roadside. Potter at his wheel, with completed pots stacked around him. Potter at his wheel, with examples of his work laid out in fornt of him. Potter at work, seated on the ground in front of his shop. Potter at work. Potter at work with his wheel. Potter seated at his wheel. Potter throwing a clay pot on a wheel. Potter throwing a pot, with completed work laid out on ground. Precise location unidentified. Duplicate negative, no print. Presumably for fuel. Small, square format print. Presumably victims of the famine of 1860-61. Priest and two fakirs in front of the tomb.[Silver printing-out paper, 96x72mm]. Priest calling monkeys to be fed.[Gelatin silver print, 81x132mm.] Print and caption damaged after being stuck to opposite page. Print damaged after being stuck to opposite page. Printed from a broken negative, with extensive retouching. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 90, there captioned, 'Kafir Effigies.'[Albumen print, 279x215mm]. print in poor condition, faded with some tears. Print is titled: ""and a village maiden she"". Prints 149-156 are accompanied by a sample of the paper produced. Prints 647-666 are a series of views of raths for carrying during festivals: groups of masks are arranged on a series of litters with carrying poles. Prints 647-666 are a series of views of raths for carrying during festivals: groups of masks are arranged on a series of litters with carrying poles. This view features two attendants, standing one on either side of the rath. Print signed: 'Chas. Lickfold, Photographer, City of Ahmedabad'. Print unsigned, but probably by Felice Beato. Print unsigned, probably by Deen Dayal. Prisoners in stocks seated on ground. See also part 284 (91). Probably a travelling entertainer with performing monkeys. Probably by Klier. Photographs from the same performance are in Photo 70. Probably either the print listed in the Nicholas & Co. catalogue as '214. Harrowing the ground', or '33. Native plough'. Probably from north-east India or Tibet, Nepal, Bhutan, etc. Probably outside Lhasa. Probably photographed at Chini-bagh. Probably photographed at Chini-bagh. Probably photographed at Taunggyi. Probably photographed in the vicinity of Lhasa. Probably taken on the same occasion as print 12. Stereoscopic view. Probably taken on the same occasion as print 20.[Gelatin silver print, 81x139mm]. Procession along a road outside Lhasa. Procession carrying image. See Hugh Richardson, Ceremonies of the Lhasa year (Serindia, London, 1993), p. 87: 'The Flower offering at Gungthang.' This photograph is reproduced on p. 88, captioned, 'The image of Trip Dzongtsen at Gungthang during the 'Flower Offering'.' Another copy at print 376. Procession of masked dancers. Procession of musicians. Profile portrait of a young Kashmiri girl seated on a boat.[Silver printing-out paper, 76x103mm]. Profile view, showing jewellery. Profile view of mother with child on her back. Profile view of woman seen in print 41, showing wicker basket on back. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 311, with caption note: 'Gaungto (Zayein) boys buying candy in the Kawng-i bazaar. The big hat of the Shan stall-keeper is made of bamboo spathes. One of the strange superstitions of the Gaungto is that which forbids the presence of eggs in a village during the reaping of the fields. As soon as the harvest begins, all the eggs in the community are gathered and thrown away, outside the village.' Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 312, with caption note: 'Dames and debutantes of the Karen Hills. The background gives an idea of the topography of the region inhabited by the Red Karens�a jumble of steep hills with narrow valleys between. The paths are almost impassable for beasts of burden (see text, pages 293 and 297).' Pwe in progress. Duplicate (in poor condition) at Photo 430/14 (35). Rajput group in font of Palace walls. Rear view. Rear view of couple, posed to show details of dress. Rear view of girl with wicker basket on back, bazaar stalls beyond. Rear view of group of women. Rear view of rowers, taken from on board the boat and showing method of gripping the paddle with the leg and foot. Second copy neg at B.15664 Rear view of two women, their hair arranged in strings of long plaits Reproduced as No 117 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Reproduced as No 38 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Reproduced as No 50 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Reproduced as print 349 in vol VII of The people of India under the heading 'Guddees', cultivators and cattle breeders. In the Bourne & Shepherd catalogue the photograph is simply described as 'An Indian carriage and pair'. Reproduced in John Clarke, 'Tibet Caught in Time' (Garnet, Reading, 1997), p. 67. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 319. The Mission was at Chitral from 11-18 September 1885 and again from early October to mid-November.[Albumen print, 244x202mm]. Rider on camel, with background blacked out. Poor quality print.[Albumen print, 137x215mm]. River scene with men and women washing clothes and children bathing. Road at Palani drawing designs in the dust. Road scene with figures in the foreground. Roadside group. Roadside group. Roadside portrait. Roadside scene with two men and a pack of dogs. Row of blacksmiths seated on verandah of building with their tools. Row of children seated at loom. Row of children working in a field in Kashmir, probably at Srinagar. Row of looms stored in verandah. Row of massive images mounted on platforms with shafts for carrying during a festival. Row of women spinning wool. Row of women working in a field in Kashmir, probably at Srinagar. Sacred cows and attendants in courtyard. See note at print 163.[78x54mm]. Sacred cow with keeper: 'One more annual procession - quaint and interesting - should be seen. It also circles the fort (usually for seven days in August), and commemorates the birth and escape of the baby Krishna and his childhood among the cowherds. The place of honour is assigned to a score or so of sacred cows...They wear chains of gold, ropes of pearls, jhules of cloth of silver. Their headbands blaze with enormous rubies and diamonds. Their garlands are of jasmine. The processions start from the elephant gate of the palace every evening about 6.30 p.m...' (Constance E. Parsons, 'Mysore City', 1930, pp. 186-87).[Gelatin silver print, 194x153mm]. Sacriced buffalo head and other offerings placed behind Dr Hunt's car, which has been garlanded with flowers. This presumably relates to his remarks that photographing the ceremony became an integral part of the sacrifice (see introduction).[Silver printing-out paper, 93x74mm]. Sacrifice scene photographed in the Kalighat Temple. Stereoscopic pair. Saddle maker and young assistant, seated with the tools of their trade, and with finished items hanging behind them. Faded print. Same as print 142. Same figure as seen in prints 415-16. Same group as Print 55. Same group as Print 91. Same subject as print 51. Scared cows with attendants. See note at print 163.[80x52mm]. Scene in a cocnut plantation, with workers grouped beside a pile of harvested coconuts.[Gelatin silver print, 136x90mm]. Scene in the courtyard of a small house, a woman grinding with a small grinding mill, watched by an elder woman and a boy. Print duplicated in vol. 52 of Archaeological Remains, no. 4946 and there credited to Hooper & Western. Seated figure begging on street. Seated figure holding the kyna, a drum with a carved wooden handle and a curved drumstick made from cane. Seated figure reading a palm leaf book. Seated group, with musicians. Seated group, with Nawab in centre. 'The court of Jowrah is shown in this Photograph by Lieut. Waterhouse, and is one of his best pictures. The Nawab sits in the centre, and his nephews, shown in the last plate, will be recognised. All the others are Pathan gentlemen, except the figure on the left, who is a Mahomedan moulvee, a very able physician, who is in the service of the Maharajah Holkar, and usually resides at his court. The stout man sitting on the proper right of the Nawab is Huzrat Noor Khan, a Swatee Pathan, and manager of the state. They are all connected by marriage, in one way or another.' Seated group embroidering carpets. Seated group of four figures, two men and two women. Seated group of four figures, with implements. Second from left is seated a young man with his right eyeball still protruding.[Sepia-toned bromide print, 213x210mm]. Seated group of men of various ages. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 310, with caption note: 'In front of a Karen bachelors' hall (see text, page 319). The unmarried 'youth' wear a special dress, varying with clans. Some have coquettish shell jackets trimmed with seeds or cowries. Almost all have necklets of coloured beads, seeds, or stone and wear ear-plugs of every sort of material, from plain wood to chased silver.' Seated group of seven men, wearing large turbans. 'The majority of those located in Berar came from Khandish, and resemble in appearance, and dress, those found in other parts of the Deccan. Seated group of three men and a youth. This photograph appears as illustration no. 200 in vol IV of The People of India (1869). Seated group of two men and a woman. Oval image, faded. Seated group of women and children. Seated man (same figure as in print 363), with crossed legs and arms. The band of cloth around his legs appears to be designed to hold his legs in a position to support his arms while sleeping. Similar print at part 287 (102). Seated Naga man smoking a large pipe. Negative marked up for cropping. Original and duplicate negatives only, no print. Seated on carpets on the ground. Seated portrait of the three young men seen in print 81, but here wearing elaborate tall head dresses. The title 'Shikarpur Chotes' is written in the negative, the remainder of the caption in the compiler's hand beneath the print. Seated portrait of the two horn players also seen in print 40, with another figure seated on the right. Second copy neg at B.441. Second copy neg at B.6977. Sect member photographed in the act of pressing skewer into side of abdomen. A slightly indistinct image.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 225x204mm]. See also no. 286. See also print 18. See also print 22. See note at print 147. Small, square format print. See note at print 147. See Photo 973/1 (20) for a copy of the missing print. See Print 18 for original view of waterfall. Selection of pots found in the Nilgiris.[Albumen print]. Selection of pots found in the Nilgiris.[Varnished albumen print]. Sepia toned print. Service in progress in a room in the monasstery. Setaed portrait of the sadhu also seen in prints 6-7.[Gelatin silver print, 88x132mm]. Settlement of tents, with milk cows tethered in the centre. Shelabagh is at the east mouth of the Khojak Tunnel. Duplicates at Photo 481/2 (17) and Photo 932 (11). Settlement of water-carriers, with men drawing water from the pool in the foreground and filling mussocks slung across the backs of bullocks. Probably photographed at a railway construction camp. Other copies of this photograph at Photo 578/4 (85) and Photo 932 (6), where the location is given as Quetta and Khojak respectively. Seven men and women, grouped in two rows, with a wicker basket standing in front. 'The Saonras are one of the sections of the aboriginal tribes of the Central Provinces, not far removed from the Gonds, either in appearance or in habits; but they have the credit of being one of the most industrious and peaceful of the jungle tribes. Their occupations are cultivation and the collection of jungle products, such as honey, bee's wax, fruits, &c., by the sale of which they maintain themselves...' Seven prints, one view of labourers chopping up a tree trunk in Nagore, a Muslim hat shop in Nagore, roadside group, member of Kallan criminal tribe, cycle escort, Perambur, and two unidentified figures. Shan caravan encamped at Bhamo. Shan group in a bazaar. Shan traders loading up a caravan. This is very probably a later photograph than the caption implies (which would date the photograph to 1885, the date of Thibaw's deposition, at the latest). The whole album appears to be the work of Beato, who was almost certainly not in Burma until the late 1880s. Shepherd with his flock. Shoe mender at work in the street. Carte-de-visite sized print, faded. Showing a Burmese man seated on his pony.[Printing-out paper, 99x74mm]. Showing a Burmese woman suckling a young elephant. Possibly a copy photograph.[Printing-out paper, 91x72mm]. Showing actors prostrated on the stage. Showing a girl seated at a loom.[Printing-out paper, 97x68mm]. Showing a group of porters on a conutry road. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 112. Showing a group of women drawing water from a well into earthenware pots.[Printing-out paper, 96x72mm]. Showing a group of workers gathering hay with wooden rakes. Showing a man drawing water at a well.[Printing-out paper, 98x66mm]. Showing a man securing a woman in a rope net preparatory to placing her in a basket, with a boy with a drum at the right. Probably the print listed in the Nicholas & Co. catalogue as '30. Jugglers, showing the basket trick'. Showing a porter with a heavy load on a mountain track. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 172. Showing a procession in progress, with pagodas made from cloth over a wooden framework being carried along a road. A very faded print.[131x78mm]. Showing a woman sifting rice through a rattan sieve suspended from three lengths of bamboo lashed together to form a tripod. A faded print.[Printing-out paper, 95x117mm]. Showing a young girl standing beside a village well.[Printing-out paper, 120x94mm]. Showing crowds gathered for the pwe, with pagodas in the background. Faded and yellowed print.[Albumen print, 96x76mm]. Showing dance performance under way in the courtyard, with large numbers of spectators lining the side of the court and surrounding walls. Showing Danu dance in progress; a poor quality snapshot. Showing four men fishing for palla at the water's edge, with nets and earthernware floats. A similar group of fishermen can be seen in action in the right foreground of print 34. Another copy at Photo 851/2(9), where the location is given as Kotri. Showing four monks holding food bowls on the roadway, with temple pagodas on the hills beyond. Print in poor condition, with fading and chemical staining.[Printing-out paper, 149x106mm]. Showing group gathered at base of wooden hti, built to receive offerings during the Wa Kyut Festival (the end of the Buddhist Lent, held in October). See also prints 38 and 54.[Gelatin silver print, 73x97mm]. Showing group in forest clearing, clearly taken on the same occasion as prints 25 and 26.[101x75mm]. Showing pilgrim on hands and knees going round the Lingkhor (the outer circuit of Lhasa city). Rock paintings (also carved into surface in light relief) with Buddha images at left. Showing stalls and traders. The target shooting competitions take place during the ceremony known as 'The Gallop Behind the Fort': see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993, pp. 56-57. Showing the boat carrying the Buddha images drawing up at the lakeside. During the festival images of the Buddha from the Phaung Daw U Kyaung are taken by barge to bless the village monasteries bordering Inle Lake. Scott's Meung Hsok may be Mang Thawk on the north-east side of the lake. Duplicate at Photo 92/5 (36).[Albumen print, 179x114mm]. Showing the figure also seen in print 119, seated in front of his tent.[Albumen print, 136x97mm]. Showing the figure seen in print 7, posed in crouching position in rope sling.[Sepia toned bromide print, 242x293mm]. Showing the godown at a more advanced stage, partly thatched. Showing the procession moving through a village on Inle Lake.[Albumen print, 174x112mm]. Showing the two men, seated amongst examples of their work. Showing the two men seated at their loom. Showing two aged women, possibly the pair also seen in print 27, posed in front of the large cypress tree in the Sangan Valley. The tree can also be seen in print 25.[Gelatin silver print, 280x204mm]. Showing two corpses awaiting dismemberment. Showing two craftsmen on shawls set out on stretchers in front of them. Showing two men, one playing a violin, the other a curved form of xylophone. Probably photographed at the Shwe Dagon Pagoda. Showing two ox-drawn ploughs at work.[Printing-out paper, 92x67mm]. Showing two Tibetan men examining eggs laid out on the ground. Showing two women seated at wooden-framed looms.[Printing-out paper, 133x110mm]. Showing two workers polishing turquoises on wheels.[Gelatin silver print, 82x140mm]. Showing women making chapattis. Shwoing an Indian entertainer, posed with a monkey on a lead and a goat balanced on a length of turned wood.[Albumen print, 107x154mm]. Side view, showing young man with eye gouge inserted to lever out right eyeball.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 242x311mm]. Side view (head to left) of horse wearing armour. Side view (head to right) of horse wearing armour. Side view of a horse-drawn covered cart with two very large wooden wheels.[Albumen print, 207x166mm]. Side view of an Andamanese man tying up a bundle of leaves. Side view of a small two-wheeled wooden carriage drawn by a pair of bullocks.[Printing-out paper, 143x105mm]. Side view of loom. Side view of the two women with buckets strapped to their backs. Similar composition to preceding print. Similar group at print 33. Similar subject to print 36, but in brighter condition.[133x80mm]. Similar to and taken on the same occasion as Photo 92/1 (69). Similar to preceding print. Similar to print 1.[Sepia-toned bromide print, 229x292mm]. Similar to print 100a. Similar to print 102, but with a European man standing at the back of the group. Original negative and modern copy print at Photo 527/2 (61). Similar to print 1031 Similar to print 104, but with the hermit's hand resting on the sill of the window. Similar to print 106a, but with another figure standing in the foreground. Similar to print 108a. Similar to print 111, but slightly more distant. Similar to print 11 and ecidently taken on the same occasion, showing a group of villagers posed for the camera. Stereoscopic view. Similar to print 12, but showing three ploughs.[Printing-out paper, 288x206mm]. Similar to print 125. Similar to print 13.[Printing-out paper, 286x212mm]. Similar to print 136a, but from a different angle. Similar to print 138, but a closer view of the musician and child. Similar to print 145a. Similar to print 15.Original �-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 290x218mm]. Similar to print 151, showing drama in progress. Similar to print 153, but rather dark. Similar to print 163. Similar to print 163. Similar to print 17, but left profile.Original whole-plate glass negative at Mss Eur F222/47.[Sepia toned bromide print, 255x307mm]. Similar to print 17. Similar to print 173. Similar to print 184a, actors in different positions. Similar to print 188. Reproduced in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 29. Similar to print 189. Similar to print 19.[Gelatin silver print, 80x53mm]. Similar to print 19. Stereoscopic view. Similar to print 19. Similar to print 194. Similar to print 199. Similar to print 2, but with fakir on left partly cropped out of picture.[Silver printing-out paper, 86x70mm]. Similar to print 20. Similar to print 20a. Similar to print 211. Similar to print 214. Similar to print 217a, but with only two dancers (blurred) in the court. Similar to print 218a, but performers blurred through movement. Similar to print 225. Similar to print 231. Similar to print 241a. Similar to print 2478. Similar to print 248a, but figures blurred due to movement. Similar to print 27. Negative only, no print. Similar to print 275a. Similar to print 277a, but a slightly closer view. Similar to print 28, but a more general view, looking down onto the seated figure.[Sepia-toned bromide print, 256x306mm]. Similar to print 29. Similar to print 291. Similar to print 3.[Gelatin silver print, 123x116mm]. Similar to print 3.[Gelatin silver print, 54x80mm]. Similar to print 306a. The series comprises prints 301-308. Similar to print 31.[103x77mm]. Similar to print 32.[Albumen print, circular image, 44x44mm]. Similar to print 33.[Silver printing-out paper, 139x83mm]. Similar to print 35, but a closer view,[100x77mm]. Similar to print 356 Similar to print 36, but group composed of porters only. Similar to print 364. Similar to print 377a, but a closer and clearer view of the dancers. Similar to print 385, but with less incense smoke. Similar to print 4, but a faded print.[127x76mm]. Similar to print 4.[141x84mm]. Similar to print 4.[142x84mm]. Similar to print 421. Similar to print 43 Similar to print 44. Similar to print 44a, but seen from the side. Similar to print 45. Similar to print 48. Similar to print 509. Similar to print 525. Similar to print 54.[Gelatin silver print, sepia, 100x127mm]. Similar to print 58, but showing a younger troupe of dancers performing. This group of children was collected by Richard Temple to dance before Prince Albert Victor at Mandalay on 26 Dec 1889 (see duplicate with note at Photo 268 (2)). Khimbagan Monastery in background. Similar to print 59. A poor quality photograph. Similar to print 6, but showing a different figure, slightly higher up the tree.[Sepia toned bromide print, 237x301mm]. Similar to print 6. Caption continues: 'The girls in front have had their veils removed. The three in front are celebrated for their proficiency in dancing among their own people.' Similar to print 61.[Albumen print, 181x119mm]. Similar to print 61. Similar to print 669, but a closer view of the central group. Similar to print 67.[Gelatin silver print, 121x186mm]. Similar to print 8.[Printing-out paper, 21x67mm]. Similar to print 86.[Albumen print, 181x117mm]. Similar to print 871, but with figures seated. Prints 868-888 all appear to have been taken on the same occasion (see note at print 886). Similar to print 91. Similar to print 91a. Similar to print 93, taken from closer to the group. Similar to prints 277a-b. Six prints, informal portrait taken at the roadside anf titled: 'Cheerful old soul', 'Old misery', 'Madura Shikari', 'Village Munsiff, near Madura', 'Wayfarer', 'Spitteler paying coolies'. Slightly distant. Slightly distant view of image of Trip Dzongtsen, with pony standing in foreground. A cropped and reversed version of this is reproduced in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 88. Slightly faded print.Group of eight men posed on a hillock. Small, faded and damaged print. Small, square format print. See also print 265. Small, square format print. Small, square format print. Small, square format print. Small, square format print. Small, square format print. Small, square format print. Small, square format print. Small copy print. Group posed in front of stone house. Small copy print. Reproduced in The Religion of Tibet, p. 170, with title, 'Two powerfully-built monks.' Small covered pony cart and driver. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 110, there titled 'A mule cart in North China.' Small full-length standing portrait of a Naga man.[Printing-out paper, 18x42mm]. Small full-length standing snapshot of a Naga man.[Printing-out paper, 24x72mm]. Small group of men and youths standing in pathway. Small group with cattle in Baghwana Valley. Small houseboat on the lake. Small print showing two girls dancing. Small snapshot. Snake charmer feeding his snakes. Snake charmer performing, with mongoose and vipers. Snake charmer playing his pipe. Photograph taken at same location as print 97.[Printing-out paper, 55x70mm]. Snake charmers at work, with two snakes rising. Snapshot, location unknown. Snapshot, location unknown Snapshot. Snapshot. Snapshot of a group of children in a village. Snapshot of a man at Sadiya. Snapshot of a mounted Turkoman, with rifle.[74x51mm]. Snapshot of a nearly naked Chinese child running in the street. Snapshot of a workshop, with workers including children. Caption on verso reads: 'Rifle Factory in independent territory between Peshawar & Kohat'. Snapshot of pulla fishers with their catch, standing on the Indus riverbank. Snapshot of seated group of Daflas. Snapshot of three men. Snapshot of villagers. Slightly blurred print. Snapshot of Wa porters resting.[Printing-out paper, 75x98mm]. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait of a boy posed beside a dry-stone wall. Snapshot portrait of a Burmese couple. Snapshot portrait of a couple with a dog. Snapshot portrait of a girl. Snapshot portrait of a Gujar man. Poor quality print. Snapshot portrait of a man. Snapshot portrait of a man. Snapshot portrait of a man holding a spear. Snapshot portrait of an Akali warrior priest on horseback. Snapshot portrait of an ascetic (Sadhu?). Snapshot portrait of a woman. Snapshot portrait of a woman. Snapshot portrait of a woman. Snapshot portrait of a woman holding a puppy. Snapshot portrait of a woman showing her plaited hair. Snapshot portrait of two girls. Snapshot portrait of two Ladakhi men. Snapshot portrait of two men. Snapshot portrait of two young men. Snapshot portrait of two young women. Snapshot portrait spoilt by scratches on the negative. Snapshot study of a group of children. Snapshot view, distant. Snapshot view of Chinese women. Snapshot view of crowds. Snapshot view of farmers at work in a field. Snapshot view of men and women dancing. Snuff seller seated in the street behind a low table on which his merchandise is laid out. Soldiers posed with musical instruments. Soldiers seated in rows in courtyard. Some of the woman are clearly too old to be schoolchildren.[Gelatin silver print, 80x55mm]. Specific ethnic group unknown. Spectators at the religious drama/opera in the park of the Dalai Lama's country palace outside Lhasa. For a description of the Ache Lhamo, see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 97-99. Spectators gathered under canopy for military review. Although given a different reference number by Bell, this is in fact another copy of print 152. Spectators seated around the perimeter of a large courtyard. Squatting group of seven men and women. 'The tribe to which the group depicted in the photograph belongs, has an unenviable character for thieving and general dishonesty, and forms one of the large clas of unsettled wanderers, which, inadmissable to Hindooism, and unconverted to the Mahomedan faith, live on in a miserable condition of life as outcasts from the more civilized communities...In appearance, both men and women are repulsively mean and wretched, the features of the women, in particular, being very ugly, and of a strong aboriginal type...The Changars are one of the most miserable and useless of the wandering tribes of the Upper Provinces...never changing, never improving, never advancing in social rank, scale, or utility; outcasts and foul parasites from the earliest ages, they so remain, and probably will continue as long as they are existent...indeed, in most respects, the repulsiveness of the tribe can hardly be exceeded.' Standing group of men and youths. Reproduced in A. F�hrer, 'Monograph on Buddha Sakyamuni's birth-place in the Nepalese Terai' (Archaeological Survey of Northern India, vol 6, Allahabad, 1897), plate 8a, there credited to Bhairon Bakhsh. Standing portrait of the woman and child also seen in print 78. Stereo half. '...Many servants are indispensably necessary to Europeans, who, from the moment they land in India until they leave that country, surrender everything appertaining to domestic economy into the hands of domestics. Few things, indeed, astonish an Englishman more, in India, than the amazing number of servants that he is obliged to keep...The standing figure in the photograph is a dressing-boy or valet; those seated, Matys, or house-servants.' Stereo half. Bangle seller posed beside a gate: 'This is a distinct calling in India. The natives who practise it come, with few exceptions, from Yappanum and Colombo. They are styled Marcayars and Jonensa Maupillas...' Stereo half. Bhisti or water carrier standing on the steps of a bungalow, with a European figure in the background. 'The regular bheastie carries water in a skin over one shoulder, but in the sketch the water is in the two earthen pots, or, as they are called, chatties.' Stereo half. Cook seated at table in the open air, cutting up vegetables, with assistant seated on the ground in front of him. Stereo half. Dancers seated on couch. Stereo half. Female dancer with male musicians. Stereo half. Full-length portrait of an ayah hanging out washing. Stereo half. Full-length portrait of figure seated on leopard skin, holding musical instruments: 'This man is of the Canoja Brahmin or Cayast caste, and generally wears a tiger's hide and a ragged piece of cloth in the form of a cummerbund. The tribe are professed mendicants...In his right hand is a species of guitar, in his left castanets, with which he accompanies himself when he sings on his begging journeys...' Stereo half. Group of Dasahra festival entertainers in costume. Stereo half. Group of performers. Stereo half. Group posed on couch. Stereo half. Posed group with drummer, with two girls bent over backwards with their hands touching the ground behind them. Stereo half. Roadside exorcist performing ceremony for a woman. Stereo half. Similar to print 70, but with pose re-arranged. In the list of prints at the beginning of the volume, this plate is incorrectly captioned 'The same [ie dancing girls] playing cards'. Stereo half. Stereo half. Stereo half. Trader and other figures seated on the ground with trunks and textile pieces: 'The hawker represented in this picture, with the white jacket and truban, is a Mahomedan. He forms one of a numerous company of peripatetic merchants who travel from station to station...with voluminous trunks or boxes, which are carried by coolies hired for this work at sixpence a day...' Stereo half. Troupe of jugglers with two European figures. Stereo half. Two snake charmers performing beneath a tree. Stereo half. Two wrestlers posed in a clinch. Stereo half. Woman seated beneath a tree with a spinning wheel. 'In the plate, the woman spinning is producing the common cotton yarn, used for the coards calicoes worn by the lower orders. Finer descriptions of yarn can only be spun under cover; and the very finest, for muslins, in a darkened room, the floor of which has been watered so as to produce moisture sufficient to soften the cotton.' Stereoscopic pair. Stereoscopic pair. Stereoscopic pair. Stereoscopic pair. stereoscopic view. Ascetic sitting on a step in Shiva Temple. stereoscopic view. A very contrasty view of a group of musicians. Stereoscopic view. Group of four Kallans (three men and a woman) posed in front of a house. Classified as a 'thieving' or 'robber' caste. Stereoscopic view. Group portrait of entertainers: 'Itinerant performers who go about the country, and exhibit feats of dexterity in juggling tricks at public festivals.' Stereoscopic view. Stereoscopic view. Stereoscopic view in a village. Stereoscopic view of a group of men. Stone 'a', photographed with measuring rule. Pl. lix of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873).India Museum No. 1130. Duplicate of Photo 1000 (1154). Stone 'a' from cromlech I, stone 'b' from cromlech II. Pl. lvii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1152). Stone b. of Cromlech II. Pl. li of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1146). Stone carver at work on a statue of a seated Buddha.[110x152mm]. Stone k from Cromlech III, m from Cromlech IV. Pl. liii from James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). India Museum No. 1128. Duplicate of Photo 1000 (1148). Stones c, g, h, d, e, f, from Cromlech III. Pr. lii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1147). Stone slab, with bands of figures carved in relief.[Albumen print]. Stone slab, with bands of figures carved in relief.[Varnished albumen print]. Stone slabs, with figures carved in relief.[Albumen print]. Stone slabs, with figures carved in relief.[Varnished albumen print]. Stone slabs with figures carved in relief, that on the left representing a tiger hunt.[Albumen print]. Stone slabs with figures carved in relief.[Albumen print]. Stone slab with carved figures (depicting tiger hunt) and inscription.[Albumen print]. Stone slab with figures carved in relief.[Albumen print]. Stone slab with two figures carved in relief.[Albumen print]. Street scene with market traders, their stall shaded with large umbrellas. Street trader with baskets slung from a pole, Studio genre scene. Studio group portrait of five porters. The figure on the left holds a folded dandy (a cloth hammock on a pole for carrying passengers), while two others have khiltis or kiltas (wicker baskets carried on the back like rucksacks). Although unsigned, this is almost certainly no. 110 in the Bourne & Shepherd catalogue, entitled Hill Coolies with khiltas and dandy. See Photo 127 (69) for the small format portrait of these figures taken on the same occasion. Duplicate at Photo 222 (56) Studio group portrait with teacher seated in centre. Probably the print listed in the Nicholas & Co. catalogue as '134. A group of school girls'. Studio portrait. Cabinet photograph. Studio portrait. Studio portrait. Studio portrait. Studio portrait. Studio portrait against a painted backdrop of a young woman carrying two pots, with a younger girl standing beside her. Possibly the print listed in the Nicholas & Co. catalogue as '24. Cook and cook's maty [assistant]'. Studio portrait group. Cabinet photograph. Studio portrait group of two men and a child.[Albumen print, 145x222mm]. Studio portrait of a barber at work on his customer's hair. Studio portrait of a child bride. Studio portrait of a frontier tribesman. Studio portrait of a girl carrying two pots. Studio portrait of a group of children. Studio portrait of a group of young Burmese women, some smoking cigars. The central figure is also seen in 114, in the same costume and against the same studio backdrop.[Albumen print, 255x206mm]. Studio portrait of a man carrying bundles of sticks on his head and back. Studio portrait of a man wearing a star-shaped collar and carrying a club. Studio portrait of an elderly ascetic. Studio portrait of an Indian theatrical troupe, in costume, posed in front of a backdrop of a European interior.[Albumen print, 221x154mm]. Studio portrait of an Indian theatrical troupe, posed in front of a backdrop of vegetation. The tableau consists of five figures, with a priest blessing a young woman, and with three other women watching.[Albumen print, 192x171mm]. Studio portrait of a North African sherbet seller, his customer standing beside him drinking from a bowl.[Albumen print, 146x231mm]. Studio portrait of a Pathan woman at her spinning wheel. Studio portrait of a two young women. Studio portrait of a Vietnamese girl reclining on a couch. The print has been torn in half and is lacking the lower portion.[Albumen print, 217x85mm]. Studio portrait of a woman carrying a bundle of grass on her head. Studio portrait of a woman carrying her child in a basket on her back. This is a photogravure published by Bourne & Shepherd in 1905 as part of a set. This is No 105. Studio portrait of a woman seated at her spinning wheel. Studio portrait of father with children. This photograph is used as illustration no. 197 in vol IV of The People of India (1869). Studio portrait of hill porters. No number or signature, but evidently no. 110 in the Bourne & Shepherd catalogue. Duplicate at Photo 54 (24). Studio portrait of three Buddhist monks. A very small image. Studio portrait of three dancing girls in their finery. Probably the print listed in the Nicholas & Co. catalogue as '56. Dancing girls, (several subjects, groups)'. Studio portrait of three men. The man in the centre has been identified in duplicate prints as a slave-dealer (see Photo 472/2 (117)). Studio portrait of three Nagar men. Caption note (handwritten and pasted to the back of the print) continues: 'On the right seated in a chair is Raja Habibulla, son of the ruling Jham of Nagyr. On the ground is Nagyr Sayad of good position and some education in Arabic & Persian. He is one of the bi-ennial hostages sent from Nagyr to Kashmir.' See The Imperial Gazetteer of India, entry under Hunza-Nagar, for a note on relations between the chiefships and Kashmir in the late 19th century. Studio portrait of three Somali youths. Studio portrait of two Abyssinian warriors. Studio portrait of two armed tribesmen. Studio portrait of two drummers. Studio portrait of two men, seated with account books and piles of coins. Studio portrait of two men. Poor condition, fading.[Albumen print, 137x215mm]. Studio portrait of two men. This photograph also appears as no. 17 in 'The Indian Amateur's Photographic Album' (1856-58) as part of the 'Costumes and Characters of Western India' series, with the following letterpress description:'Vishnu Bhiku, well known of late in Bombay as 'The Bawa', is by birth a Brahman. He is said to have been an official in Government office before he commenced the practice of the gentle religious austerities which he now observes, especially in the matter of dress. A few years ago, he appeared as a religious disputant andf instructor at Kolapur. He commenced his public labours at Bombay in 1856. 'He challenged all the world, and missionaries especially,' says the Rev. Mr Bowen, 'to discuss with him in public the relative merits of Hinduism and Christianity.' But he showed no disposition to encounter them on equitable terms of debate. An invitation to do this, which was addressed to him, he, in fact, either neglected or declined. After his discourses at the sea-shore, - which he continued from the 15th January to the setting in of the monsoon of last year, - he usually allowed some of the missionaries of Bombay to reply to his remarks, and proceeded to hold with them very keen discussions. Mr Bowen, in particular, vigorously exposed his representations and reasonings, of which he has furnished a correct report in a little volume entitled 'Discussions by the Sea-side.' The Bawa, of late, has been very quiet in the community; and report has it that he is writing a book, which will be a better test of his powers than any verbal addresses which he has yet delivered. As he has been so kind as to sit before us for his picture, we leave the public to form its own opinion of his marked physiognomy. His shirt is that generally worn by Sanyashis. His pots, and staff, and unostentatious turban, complete his equipments. One of his disciples, a well-known Sonar in Bombay, is sitting on the ground before him; but he seems more occupied with his granth than with his guru.'For other prints in 'The Indian Amateur's Photographic Album', see Photo 140.[Albumen print, 190x219mm]. Studio portrait of two men playing chess, watched by three others. The older player wears the white cap of the haji. Studio portrait of two women. Studio portrait probably by Klier. Studio portrait with one girl sitting on a table and the other leaning on her companion's leg. They are both wearing head-dresses. Study of a man weighing jewellery. Study of a man winding cotton. Study of an armed frontier tribesman. Tailor at work, seated cross-legged on the floor. Tailors at work on the verandah of their shop. Taken at Madanapalle? Taken on the same occasion as print 87. Poor quality Tanner at work in his workshop.[Albumen print, 185x216mm]. Team of men at work. Team of sawyers at work with double-handed saws. Tentative identification. Original and duplicate negatives only, no print. Tent with figure standing beside it. A rather dark print. TFull-length standing portrait of two women carrying decorated baskets on their heads. Reproduced in A. F�hrer, 'Monograph on Buddha Sakyamuni's birth-place in the Nepalese Terai' (Archaeological Survey of Northern India, vol 6, Allahabad, 1897), plate 8b, there credited to Bhairon Bakhsh. Thatched house on stilts. Original and duplicate negatives only, no print. Thatched houses on stilts on Inl� Lake. Theatrical entertainers gathered on the stage. The figures include a strongman holding a heavy stone above his head, a yogi in a particularly contorted posture, a male transvestite dancer in female clothes and musicians. Theatrical performance on an open-air stage. The ayah is sitting over the baby, a man is sitting on the right holding a fan. The buffalo is being pinned down while the blacksmith works on its hooves. The carriage is a single seater with large wheels and is being drawn by a young bullock. Original glass negative, no print. The corpse, sewn up in a sack made from yak hair with a khata on top is being carried away to the disposal ground by two tong-den, the hereditary performers of this task. (Tibet Past and Present, p. 183). The dancers and location are unidentified. The dancer sits on a chair, a type of hookah on her right. The musician stands on the left holding a stringed instrument and bow. The group seen in print 175. The Hpaung daw or barge bearing the images of Buddha approaching across Inle Lake. The letterpress describes the frequent changing of the leaf apron when the leaves become dry and shrivelled and the way such bundles are often given (through a third party) as a courting present. The man carries the yak hide coracle on his back: 'The sheep carries a pair of saddle bags containing his master's barley flour, dried meat, tea, salt and pepper, as well as his eating bowl to provide a cold lunch for him. He eats the meat raw, the barley flour has already been dipped into tea and rolled into balls...' The man is pouring water from a bag into a large bowl. The man seen in print 4, here with skewers inserted through tongue and into skull.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 252x304mm]. The man seen in print 9, now with skewers piercing each cheek.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 255x311mm]. The man seen in prints 17-18, here photographed in the act of inserting skewer.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 209x245mm]. The men carry the oranges on their backs in large wicker baskets. The mill is a type of large pestle and mortar operated by two bullocks yoked together and walking round in circles. Original glass negative, no print. The monk stands holding a fan. The musician seen in prints 91a-b, standing alone. The occupation of the men is unclear. The original caption has been annotated to identify the man standing on the right as a 'Fighting man' and the man sitting on the left as a 'Camel driver'. The photograph demonstrates the method of carrying the sick or wounded on the back of another man, who holds a long staff for support. The sick man sits in piggyback style, his feet resting in stirrups improvised from a length of which passes over the head of the carrier, where it is padded to prevent chafing. The photographer's signature is on the print but difficult to decipher. The Preparing the Camp at Lugu Ceremony: see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 31-33. The print is numbered 'Shepherd 1387' and is listed in the Bourne & Shepherd catalogue as, 'Group of Afredees from the Khyber Pass'. The print is washed-out and the original captions have been lost, but this is probably the work of Zangaki while in Sudan. There are several annotations on the page surrounding the print, including: 'The 1st Bn received from the Commissioner, Mr Darling, a Residency Flag. This we had placed in a walnut casket specially made in Kasmir [sic] and sent home to the 2nd Bn. Then at Maryhill under command of Tom Riddell Webster'. The remainder of the pencil caption has been erased but is still visible, it reads: 'Burmese trading boat which stopped at Hamilton Wright's camp to sell supplies'. Wright's wet-stamp has also been scribbled over in pencil. The saddle is a wooden frame, the type used by muleteers (see Print 91). The same group, although a slightly different view, appears as photograph No. 199 in vol. IV of The People of India (1869). The same group appears as photograph No. 205 in vol. IV of The People of India (1869). The same photograph as print 19, enlarged and cropped to show central figure only.[Sepia-toned bromide print, 276x229mm]. The same priest is also seen in prints 16 and 17. The same woman as seen in print 65. 'Silver ring on forefinger of left hand. Cream coloured robe of Assam silk on the outside. Black cotton robe under this.' The seller is sitting behind a basket which contains a variety of sweetmeats, he holds a set of scales in his left hand. The series comprises prints 301-308. The three men seen in print 67, here seated in more relaxed attitude. The top half of the print has been cut off. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. The two Abor chiefs posed in front of a thatched house. Negative marked up for cropping. Original and duplicate negatives only, no print. The two potters are identified as Uccu and Pudi Nainda. The two traders seen in print 25, watering their horses. This family was an exotic curiosity in the court of Mandalay and a meeting with Maphoon, probably the woman in this print, is described in Henry Yule's Narrative of the Mission to the Court of Ava in 1855, pp93-94, which is accompanied by a lithograph (Plate 17) by Colesworthy Grant. This is a cropped version of print 87, showing the group in the foreground.[Albumen print, 61x83mm]. This is the man seen in European dress turning the prayer barrels in print 25: 'After doing this and burning incense, he proceeds to the verandah and turns the prayer barrels, as seen in print 25. This action in fact precedes that in print 25.' This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. Three Akha women posed in front of the fence surrounding a village. Three Bhutanese men drawing longbows. Three bronze Buddha images. Three dancers and musician player a large horn-like instrument. Pencilled note on reverse of print reads: 'A coolie dance for general purposes, births, deaths & marriages, as seen near Andheri, Bombay. The trumpet is called a 'Dhutaroo' according to our bearer who is a Gujerati. Oct 1934.' Three entertainers posed in the act of performing the trick by which a mango tree seemingly grows beneath a basket in a matter of moments. Duplicate at Photo 335/2 (57). Three figures posed beside laden donkey. Three figures seated in tea house, the one on the right smoking a long pipe.[Gelatin silver print, 132x82mm]. Three fishermen in from of their hut on the river bank. Three girls posed in front of a Toda house. Three Hindu priests writing religious texts. Three Ladakhi men posed at roadside. Three Lihsaw women, full-length, in traditional dress. Three Loilong Karen men with large wicker baskets. Three males, two seated, one standing in profile. Three masked dancers performing. Three men at the roadside. Three men at work. Second copy neg at B.444 Three men posed in front of the wall of an unidentified building. Three men posed in front of the wall of an unidentified building. Three men posed outside a building. Three Mishmi children standing in front of a grass hut. Three Naga men, standing in front of tent.[Gelatin silver print, 80x135mm]. Three-quarter length full-face standing portrait, oval image. 'Ruttun Gyr Gosaen is an inhabitant of Coel, in the district of Allyghur, where his ancestors have dwelt for many generations, and belongs to a sect of mendicant friars, or rather professional beggars, who ask and receive charity from Hindoos only...' Three-quarter length portrait, facing left. Three-quarter length portrait, holding a sword. Three-quarter length portrait, seated on a rock. Three-quarter length portrait, seated on wooden box. See note at Mss. Eur. G.91 (193d), where there is another copy of this print. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. The subject is facing left, leaning on a pedestal. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002.Mounted and stored separately in Box 664, shelf 85E. Three-quarter length portrait of a girl dancing. Three-quarter length portrait of a man sitting at a table, his left hand resting on a book. Taken in the same studio as prints 1 and 5. Three-quarter length portrait of a Sikh. Three-quarter length portrait of a smiling Dulani woman holding a sick lamb. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 124).[Gelatin silver print, 131x228mm]. Three-quarter length portrait of a young girl. Three-quarter length portrait of couple. Three-quarter length portrait of four of the girls serving at the British Mission lunch (see note at print 201).[Gelatin silver print, 155x102mm]. Three-quarter length portrait of laughing woman wearing traditional clothes and head-dress, sticking out her tongue in greeting. Small, square format print. Three-quarter length portrait of the girl seen in print 67, framed in a window. Three-quarter length portrait of the Raja of Jubbal. Oval image. Three-quarter length portrait of two men, one standing, one seated. Oval image. 'They are herdsmen and farmers only - a fine, stalwart tribe, but not numerous, and given entirely to peaceful and industrious pursuits...They have long bamboo staffs, used in herding cattle. The peculiarly Aryan character of their features is remarkable, and both men have light hazel eyes, a further proof of their northern descent.' Three-quarter length seated portrait; faded. Three-quarter length seated portrait.[Gelatin silver print, 125x84mm]. Three-quarter length seated portrait.[Gelatin silver print, 52x78mm]. Three-quarter length seated portrait. Oval image, faded. 'Naorung is an inhabitant of Phuppoond, in the Meerut district, and belongs to the Goojur tribe, who form a large proportion of the population of the upper North-Western Provinces of India, and claim Rajpoot origin on the male side...Naorung is fifty-five years of age, and five feet eight inches in height. His complexion is light, but much pock-marked. He is a fair specimen of his tribe, stout and good-looking, but with a hard reckless expression of countenance, and the air and carriage of a soldier...' Three-quarter length seated portrait. Oval image, somewhat faded. 'Shadi Seth is an inhabitant of Bhagput, a large town in the Meerut district, and belongs to the Surongie division of the Bunnya, or shopkeeping tribe, who are Jains.' Three-quarter length seated portrait. Oval image, somewhat faded. Three-quarter length seated portrait. Oval image, with background painted out. 'Dhokul Sing is a Jat landholder...from the Goorgaob district.' Three-quarter length seated portrait. Oval image, with some offsetting from letterpress onto print surface. 'According to their own (and seemingly the most probable) account, the Kumbohs are the old inhabitants of the Trans-Indus country, who were converted to Islam by Mahomed of Ghuzni... Three-quarter length seated portrait. Oval image, with some offsetting from letterpress onto print surface. 'Mohur Sing is a landholder, residing at Burote, in the Meerut district, and belongs to the large and important race called Jats...Mohur Sing is forty-eight years of age, of darkish complexion, and five feet nine inches in height. He, and the person represented on the next plate, are good examples of Jats. They are landholders and farmers, and persons of consideration in comfortable circumstances. Both are well, indeed handsomely dressed; and are strong, able men, with a soldierly air, like the rest of their people. Three-quarter length seated portrait. Oval image. 'By his costume, the person represented would appear to be a Loukik, or secular Brahmin, with no pretensions to sanctity; he may be a secretary or teacher, or an officer in the Civil Service of Government...Brahmins, especially of the Nort-West Provinces of India, are, for the most part, a fine intellectual looking people; they are well made, and frequently of great bodily strength. They belong to the purest Aryan races, and have notr deteriorated, at least in physical power. The person represented, however, is by no means a good specimen of his class; but the reason for selecting him is not particularly explained.' Three-quarter length seated portrait. Oval image. Three-quarter length seated portrait. Oval image. Three-quarter length seated portrait. Three-quarter length seated portrait of an aged man.[Gelatin silver print (modern print), 90x121mm]. Three-quarter length seated portrait of an unidentified figure, probably photographed as a representative of an ethnic or caste group rather than as an individual. Three-quarter length seated portrait of a Pewindah man, 'who, with flocks and camel herds spends much of his life migrating between his summer pastures in the Afghan highlands and winters in the milder climate and greener pastures of the Indian borderland.'[Gelatin silver print, 61x103mm]. Three-quarter length seated portrait of a Tanawali man, holding a sword across his lap. 'The Tanaolees now inhabit the mountainous tract lying along the left bank of the Indus, from the black mountain of the Hussunzye Pathans, to Torbeyla, and also hold a tract of country, to which Umb, the seat of the Hindwal chief, gives its name, out of British territory Three-quarter length seated portrait of cobbler at work. Three-quarter length seated portrait of Dudai Singh. Three-quarter length standing portrait, in the open air. Three-quarter length standing portrait, leaning on a stout bamboo staff. Oval image. 'Kharals are Mahomedan graziers and cultivators, who are settled on the banks of the Ravee, in the Googaira district...They are all...a peacably disposed and industrious people, and many of the agriculturists are good farmers...The subject of the photograph was five feet ten inches in height, with a light brown complexion and hazel eyes. His dress was a white turban, a silk scarf checked white, red, and black, with a lower dress (loongee) of unbleached cotton with a red silk border...' Three-quarter length standing portrait.[Gelatin silver print, 79x121mm]. Three-quarter length standing portrait.[Gelatin silver print, 81x131mm]. Three-quarter length standing portrait.[Printing-out paper, 34x63mm]. Three-quarter length standing portrait. Three-quarter length standing portrait. Oval image, faded. Three-quarter length standing portrait. Oval image. 'Rugnath Sahai is a Hindoo inahbitant of Putteealee, in the district of Etah, and of the caste Kayeth Suksaina...' Three-quarter length standing portrait. Oval image. 'Some of the Kunyt girls are decidedly pretty, with ruddy complexions, and those represented in the photograph are perhaps fair specimens of their class.' Three-quarter length standing portrait. Oval image. 'The Bishnoi is a common caste in the Moradabad district and in other parts of the North-Western provinces...Khate Bishnoi...is a Hindoo. His height is five feet seven and a half inches, and he is sixty-three years of age. He holds a hookah in his hand; his clothes are of a red, black and white pattern, and his tunic is padded with cotton.' Three-quarter length standing portrait. Oval image. 'The specimen photographed comes from Umroha, a town in Moradabad full of old and decayed Mahomedan families. The occupation of the Bhat shown in this photograph is the narration of family traditions and legends, and remarkable historical and other local events, many of which are very curious and interesting...' Three-quarter length standing portrait. Oval image. 'This tribe, who closely resemble the Tharoos...live entirely in the Terai forest; they are a quiet, shy race, keeping very much to themselves. In the rebellion, they showed themselves much attached to the British Government...The age of the man photographed is eighteen years, and he is of average stature. He is represented carrying a bundle of grass on his head, and a Koorpa, or sickle for cutting grass, in front of his chest. He is dressed in a red and white pattern chintz.' Three-quarter length standing portrait. Oval image. Three-quarter length standing portrait. Oval image. Three-quarter length standing portrait. Print unsigned, but probably the photograph listed in the Ootacamund section of the Nicholas & Co. catalogue (copy at Photo 745) as '25. Toda men'. Three-quarter length standing portrait. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 184).[Gelatin silver print, 215x284mm]. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait of a Bhil man.[Albumen print, oval image, 88x115mm]. Three-quarter length standing portrait of a Ceylonese girl. Three-quarter length standing portrait of a group of four young women. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 112x118mm]. Three-quarter length standing portrait of a Kachin warrior, wearing a leopard-skin waistcoat and carrying aspear.[Gelatin silver print, 81x131mm]. Three-quarter length standing portrait of a Kamti man, wearing a sword and smoking a pipe.[Printing-out paper, 81x108mm]. Three-quarter length standing portrait of a Kurumbar girl. Three-quarter length standing portrait of a laughing Naga man.[Printing-out paper, 64x96mm]. Three-quarter length standing portrait of a man and woman. The woman wears the distinctive head-dress described by Egerton: 'The head-dress of the Koolloo women is very peculiar, and to my eye extremely pretty, the hair being plaited and twisted round the head, like a turban. Those who do not have enough hair, supplement it with black worsted. The dress of the men consists of a pair of trowsers and a long coat or smock frock, confined around the waist with a woollen rope twisted many times round...' (Egerton, p. 6). Three-quarter length standing portrait of a monk (the seated figure in prints 73-74), holding a fan.[Gelatin silver print, 120x164mm]. Three-quarter length standing portrait of an Abor girl, wearing heavy earrings, necklaces and metal waist pieces, with a group of villagers (out of focus) in the background. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 107x142mm]. Three-quarter length standing portrait of four young women. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 141x108mm]. Three-quarter length standing portrait of two Assamese women, one with her hand round the shoulder of the other.[Albumen print, signed 'E.H.H.' in the negative, vignetted oval, approx. 105x120mm]. Three-quarter length standing portrait of two men in street. Three-quarter length standing snapshot portrait. Three-quarter length standing studio portrait of a man smoking a pipe.[Albumen print, 145x225mm]. Three-quarter length studio portrait of a Kashmiri woman. Three-quarter length studio portrait of a Kashmiri woman. Three-quarter length studio portrait of a smiling girl, holding a fan. The caption written in the negative reads 'Imitating missus'. Three-quarter length studio portrait of two men and a woman. Ethnic group unidentified, but probably from North-East India or Nepal, possibly photographed in the Darjeeling area. Three-quarter portrait of a young woman and a boy posed with a book at a table, and wearing European dress. Oval image. 'Beads, brass ornaments, and flowers, they delight in. It will be seen that the Christian girl photographed is quite unadorned. They are required to be tidy and clean; but, as one of the mortifications of the flesh to which, as some kind of test of their sincerity, they are subjected on admission into the congregation, they are compelled utterly to abjure and cast away all such vanities as beads and brass ornaments.' Major Edward Dalton, who wrote these notes, added the hope that 'such rigid austerity' would in time cease and the Kol Christian community be allowed to practise their traditional customs once more. Three seated men in discussion, surrounded by books. Much of the background, apart from two framed calligraphic illustrations on the wall, has been whited out. This photographs appears as illustration no. 198 in vol IV of 'The People of India' (APAC Photo 972/4(198) and Photo 173/4(198). For a further copy, see also APAC Photo 28/2(38). Three seated workers with the tools of their trade. Three smiths at work. Three soldiers, posed with their guns and seated on the ground. Three soldiers, seated on carpet with their matchlocks. Half-profile view from the left. The same sitters can also be seen in print 39. Faded print. Three soldiers seated on carpet, holding matchlocks. Three South Indian tailors at work. A duplicate print appears at Photo 447/3 (59), in an album of photographs mainly attributable to Hooper. Three Taungyo girlsposed in front of a thatched house. Three Tibetan women posed in front of a tree in the Tarai.[Albumen print, 97x137mm]. Three traders seated on the ground. Faded print. Three veiled dancers performing. Three villagers posed for camera. Negative only, no print. Three Waziri men, posed against a building. Three women, with traditional head-dresses, packing wool. Three women in traditional dress seated on chairs in a row. Three women seated at their work. Three workers posed for photographer. 'This is unusual, as nearly always one finds two working together. The two spades on the right have each a bell on the top. These are simply to give pleasure in the monotony of the toil, not that the employer may hear whether his employees are working or not. Most spades do not have bells.' Tibetan couple. Duplicate negative, no print. Tibetan dancer holding drum. Tibetan group of three men, a woman and a child seated on ground. 'The two men on the left are drinking tea. Further to the left is the long bamboo jar used for drinking the Sikkimese beer. The man on the right is smoking a cigarette, a thing that he would be less likely to do thus in public, on account of the prohibition of cigarette smoking.' Tibetan group posed on wall of temple. Tibetan group posed outside temple. Tibetan group shaded by awning. Tibetan group with pack horses on a mountain road. Tibetan group with ponies posed in foreground, town beyond. Tibetan man in yak hide coracle. Tibetan man peering into the single small window of the hermit's cell. Various food utensils lie on the ground in front of the window. Tibetan man playing horn. Tibetan man seated in front of wall, with a calf seated beside him. Tibetan with ponies in a field. The previous day at Lunang Bailey had seen the the blue poppy (Meconopsis Baileyi), whose seeds were later brought back to England by Captain Kingdon Ward. Tiger image beneath an open-thatched shelter, with the dog Jock seated beside the image.[Lantern slide, 75X75 mm]. Toda group posed in front of characteristic dwellings. Toda youths engaged in a game.[Albumen print]. Toddy drawer demonstrating method of climbing tree with rope sling.[Silver printing-out paper, 108x148mm]. Toddy drawer demonstrating the method of using the grinding stone, with a man and a woman standing in the background. The note by Hunt on the reverse of the mount continues: 'Several such stones are to be seen and in all the cups have been made in this manner. N.B. Other cup-marked stones cannot be explained in this manner: but appear to be used solely for worship: ?at midnight ??by those who practise Bhanamath (black magic). E.H.H.'[Silver printing-out paper stereosopic view, 154x79mm]. Toddy tapper posed half-way up a tree, with a figure in the foreground carrying two jars of toddy slung on a yoke over his shoulder. Probably the print listed in the Nicholas & Co. catalogue as '40. Toddyman climbing a cocoanut tree.' Toddy tapper up tree. Trader seated at the doorway to his shop. Trader seated outside his house with his wares - pots of all shapes and sizes - laid out around him. Possibly by Hooper & Western: similar format and tone to print 66, which is credited to these photographers. Traders posed beside piles of pots. Stereoscopic pair. Trained bear with its master. Print unsigned, but print number 3009 matches Bourne & Shepherd photograph of this subject under the heading 'Central India types'. Tribesmen posed at side of road, with hills beyond. Although the fort itself is not visible, some of the figures in the group also appear in print 27. Possibly photographed by Baker & Burke during Lord Mayo's visit to the North-West Frontier. Tro-mo people seated in courtyard. Twelve views of tribal groups, dancers and drummers.[Gelatin silver prints, most measuring approximately 135x80mm]. Two Bedouins in the desert.[Gelatin silver print, 82x133mm]. Two beggars by the side of the road. Two Bhutanese mail carriers, dressed against the cold. Two boats with leg rowers. Two boys posed on hillside. Two Br� (Karen) girls seated on a rock, showing brass leg bands. The pose is telling: both girls cover the lower part of the face with one hand, while the other is held between the thighs. This photograph is reproduced as the frontispiece to Scott's 'Burma and Beyond' (London, 1932). Also published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 312, with caption note: 'Br� girls, very distrustful of the photographer. Note the boar's tusk necklace. The household means have not admitted of brass coils around the arms, but the legs have not been neglected; neither have the lobes of the ears (see text, page 318). Two Buddhist nuns posed in front of the entrance of the Dharmsala.[Gelatin silver print, 118x185mm]. Two Burmese girls posed beside a well.[148x106mm]. Two Burmese youths receiving instruction from a Buddhist monk. Two canoes fishing near mangroves.[(?)Collodion printing-out paper, 157x109mm]. Two carpet weavers seated at their looms. Two charcoal carriers on the road. Two children and dogs outside a house. Two children seated with a baby in a wooden cradle. Two couples, posed against a largely blank background. The men wear European clothes. 'These native Christians are an exceedingly quiet and peaceable set of people. At Goa, many of them are engaged in farming, and in the practice of various handicrafts. In Bombay, a considerable number of them are employed in general business, or as writers...The dress of the females resembles that of the natives, as may be seen from our photograph; while that of the men is of the European fashion...' Two couples (Gaddis?) posed in front of a wall. Two couples posed in front of a small tree (same location as print 113). 'The Khunjurs inhabit the forest in the north-west of Shahjehanpore. Their chief occupation is to collect and sell forest produce, wild honey and jungle fruits. They manufacture grass fans, screens, and ropes. They delight is snaring game, trapping hares, foxes, &c. Their habits are migratory, living in temporary sheds in the forest, and they profess the Hindoo religion.' Two Dafla women standing in front of a thatched house. Two dancers sitting on a carpet with three musicians. Two dwarves posed with an unidentified man of normal height.[Gelatin silver print, 145x197mm]. Two Europeans (presumably the figures seen in print 1) riding on horseback accompanied by a Shan retinue holding umbrellas.[Printing-out paper, 140x82mm]. Two family groups seated at small tables inside a tent in a park (lingka) in Lhasa. The group is taking lunch after concluding a game of dice. Two female cinder sifters at the side of the railway line. Two figures, full-length. Two figures, seated on carpet. A very faded print. Two figures, seated on the ground with baskets of grain: '...Ordinary Banias. Their chief occupation is selling Otta, dal, ghee, sugar, grain, rice, &c.' Two figures at funeral place. Two figures leaning on staffs. Very faded print. Two figures posed in the archway of the shop. The left hand seated figure appears to be writing or drawing, the man standing next to him holds a roller of some kind, possibly for a printing process. Two figures seated in stall with various pieces of equipment. The activity is uncertain. The wood in the background is presumably for heating a furnace. Two figures seated on light cart drawn by two bullocks, with figure standing at right. 'The Guddees profess to be a Mussulman tribe converted from low caste Hindooism in the reign of Aurungzeeb. They are cultivators, and keep and breed cattle to a large extent...Their principal locality is the Dooab of the North-Western Provinces, but they are also found in the Ulwar and Bhurtpoor states of Rajpootana. They are a mild, inoffensive people, and, as a class, of good behaviour, peaceful, industrious, and long lived...With their large herds they possess numbers of carts, both for transport of goods and as travelling vehicles. The cart shown here is one for riding or travelling in...As a vehicle, nothing can be more inconvenient or more rough, and the passenger has to assume a painfully cramped position which cannot be changed. It is, however, very strong, yet light, and with the well-trained bullock employed can make a long journey in a day.' For other copies of this photograph, see Photo 15/10 (57) and Photo 28/2 (34). Two figures seated on steps in front of building.[Gelatin silver print, 55x79mm]. Two fisherman walking in the shallows with their nets. Stereoscopic view. Two fishermen in a canoe. Two fishermen with their small catamaran in the shallows. Two guides on a mountain path. Two house servants in a mocked-up officers quarters. A duplicate print appears at Photo 447/3 (54), in an album of photographs mainly attributable to Hooper. Two human skulls placed on small thatched shrine.[Gelatin silver print, 141x82mm]. Two Indian servants posed as if in a European domestic interior, complete with gun rack, tables, trophies and pictures on wall, etc. In fact the tiled roof visible at the top of the picture indicates that the scene has been set up in the open air. Duplicate at Photo 335/2 (54). See also prints 58-9. Two instrument makers seated in front of their shop.[Albumen print, 183x217mm]. Two Kachin woman standing in front of an unidentified building, possibly a market.[Gelatin silver print, 75x97mm]. Two Kadan men. Two Kalmuck men on horseback in the Mongolian Altai. Two Kamti men in front of thatched house.[Gelatin silver print, 41x62mm]. Two Kamti men standing in front of a thatched hut. The bamboo tube held by the man on the left presumably contains honey. Two Kashmiri girls posed with wicker baskets on their heads. Two long Burmese racing canoes in river in foreground, spectators on verandah of building on further bank. Duplicate at Photo 88 (29). Two male dancers, one playing a small piccolo-like instrument. Two masked dancers, with monks in courtyard of the Gungthang temple. Two masked dancers, with Tibetan spactators behind. Two men, full-length. Two men, one playing a drum, the other a stringed instrument. Two men (an older and a younger man) seated on the ground on either side of a low table on which is spread out goods for sale. Numbered '33' in the ngative. Two men at Sadiya. Two men carrying a chest slung between two poles, a third man looks on. The tent in the background may be the photographer's. Two mendicant monks holding drums. Two men dismembering a corpse. Two men in traditional dress, standing in front of grass house. Duplicate at Mss Eur F157/324(4), there captioned 'Tagi Raja'. The photograph was taken at Jamiri during the 'Aka Promenade' of 1914. Two men on a donkey followed by a group of women on foot.[Gelatin silver print, 167x109mm]. Two men on horseback bowing to one another. Two men posed among carved wooden (funerary?) figures. Stereoscopic view. Two men posed in front of the wall of an unidentified building. Two men posed in front of the wall of an unidentified building. Two men posed with large faggots slung over their backs. Two men shearing a sheep beside the bridge over the Jhelum at Pampur. Two men sitting on a verandah with their wares spread out on the floor. Two men squatting in front of a tent. This photograph also appears as print 20 from Forsyth's Report (see preceding print, which shows the same figures) and is there titled 'Men of the Pakpoo tribe living in the Valleys bordering that of the Tisnaf River'. Two Monba men standing at side of road. Two Mongolian men in the bazaar at Lhasa. Faded print. Two monks posed at start of debate. The argument is accompanied by the striking of various attitudes reflecting the progress of the debate (see following prints). The series comprises prints 301-308. Two nuns posed on the highway (a different pair from those seen in prints 177a-b). Another copy of this photograph at print 343. Two opium smokers reclining with a pipe. With blocks of opium standing on the ledge behind. Two Pakhpoo men kneeling in front of a tent. The men are armed with rifles with prong supports. Faded print. Numbered '24' in the negative. Two potters posed beside their wheel. Probably the print listed in the Nicholas & Co. catalogue as '39. Potters at work'. Two rickshaws with a European man seated in each vehicle. The figure on the left is Imre Kiralfy, the organiser of this and other exhibitions. Two sculptured slabs, photographed with measuring rule. Pl. xlviii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). Duplicate of Photo 1000 (1143). Two sculptured slabs, photographed with measuring rule. Pl. xlvii of James Wilkinson Breeks, An account of the primitive tribes and monuments of the Nilagiris (India Museum, London, 1873). India Museum No. 1136. Duplicate of Photo 1000 (1142). Two sculptured slabs, photographed with measuring rule. Plate xlvii of James Wilkinson Breeks, 'An account of the primitive tribes and monuments of the Nilagiris' (India Museum, London, 1873). Two sculptured slabs, photographed with measuring rule. Plate xlvi of James Wilkinson Breeks, 'An account of the primitive tribes and monuments of the Nilagiris' (India Museum, London, 1873). Two seated ascetics. Two seated figures, with woman working on the forearm of a man. The accompanying letterpress gives a more detailed account of the procedure. Two seated figures in foreground, with two attendants armed with swords standing behind. Presumably photographed at Jaora. 'Of the subject of the Photograph, the two persons in the centre belong to the ordinary military classes [viz. the figures standing behind]; those [seated] on the right and left hold ministerial situations under the Nawab of Jowrah. None of these differ in any respect from ordinary Mussulmans, either in religion or habits.' For another copy of this print, with some further notes, see Photo 355/9 (8) Two silversmiths displaying their wares in their shop.[Silver printing-out paper, 103x76mm]. Two snake charmers blowing their pipes. Photograph used as illustration no. 205 in vol. IV of The People of India (1869). Two South Indian men weighing sticks on large scales. Possibly a Hooper photograph; similarities with prints in Photo 447/3. Two street traders with fruit laid out on at able.[Albumen print, 173x207mm]. Two tailors sewing. Two tame Wa women and a man. Two traders on horseback. Two tribesmen with hawks on their wrists. Two-wheeled carriage with passengers drawn by two bullocks. Two-wheeled wooden cart with wickerwork superstructure, drawn by two oxen.[Albumen print, 206x166mm]. Two women, full-length. Two women, posed with wicker baskets on their heads. Two women; poor quality. Two women at work turning metal on a hand-powered lathe. Two women in purdah walking along a road. Two women posed on a country road with loads of cane. Two women posed on the steps of a building. The original background of the print has been taken out and an uncompleted photomontage of a temple scene is partly visible in its place. See Photo 140 (49) for a copy of this print in its original state. The letterpress description of that print identifies the women as follows: 'The elder of these two intelligent young ladies, Arala Bai, is the daughter of the Rao Saheb Tirmal Rao, Inamdar at Dharwar, and Saddar Amin of Bagalkot in the Southern Maratha country; and the younger, Lakshmi Bai, who is espoused to his son, is the daughter of a respectable Inamdar in the Kolapur State. They are both at present [c.1857] in Bombay, under the care of their venerable grandmother, enjoying instruction, principally through the medium of out noble English tongue...at the missionhouse, Ambrolie...' Two women selling produce at the roadside, with a young boy making a purchase. Print unsigned, but probably by Nicholas & Co. Two women washing clothes in a river. Two young women operating a metal butter churn. Two youth posed on a country road. Numbered 126 in negative, but corresponds to number 127, 'Transborder types, two youths (upright)'. Typescript note on back of print reads: '...She is a Mohini who lures the King of Ayodhya in the forest and all but persuades him to sacrifice his son, who is saved by the Goddess Vishnu.' Unidentified Indian group. Uniformed Sikh policeman standing on Blake Pier. Similar to print 3. Unsharp. Negative only, no print. Unsharp. Negative only, no print. Unsharp. Variant of print 129a. Variant of print 163. Veiled dancers formed into a circle. Very similar to print 177a. View across courtyard, with spectators in foreground and on roof of verandah of building. The 'Sky Archery' is described in Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 58-59. View between two lines of onlookers towards the tent at the Lugu Gardrik Ceremony ('Preparing the Camp at Lubu'). The Yaso were the commanders of the feudal cavalry at the ceremonies: see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 31-33. View from above, looking down onto courtyard where the performance is taking place. Musicians with long horns and dancers in foreground, with spectators beyond. View from an upper storey looking down onto the procession, which has halted for the photograph to be taken. The young boy is seated on a cart drawn by two bullocks and shaded by an umbrella. Offices of the Mandalay Heral Press in the background. The part of the caption referring to the funeral relates to prints 20-24. Photograph probably by Beato. View from behind: two men hold the sword parallel to the ground, blade uppermost, while the figure seen in print 14 slides his neck along the blade. The sword is seen here deeply embedded.[Sepia-toned bromide print, 275x203mm]. View from boat looking towards leg rower.[Albumen print, circular image, 44x44mm]. View from the river. View from the roof or upper window of a house. In this ceremony, the 'Golden Procession', the participants march round the Potala with banners, religious objects and music. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 74-81. View in a temple with priests standing next to a horse sculpture, cast in silver, with an elaborate votive image on it's back. View in a timber yard with a double-handled saw. View inside bazaar, with Shan traders seated behind plates of footstuffs. View looking across stage towards the Dalai Lama's viewing point: '...whose 'box', screened off, is half seen in left background. In foreground the stage with its floor of stone slabs.' Photograph taken from a similar viewpoint to print 108. View looking across stream towards woman. View looking along open-sided hall towards audience in presence of an unspecified dignitary. With offerings of fruit piled in foreground. See also print 99.[Gelatin silver print, 97x72mm]. View looking along row of Tibetan officials seated on the ground in front of the pavilion used by the Dalai Lama to watch the religious drama. View looking along the bank towards two samll sailing boats with bipod masts. A faded print.[Printing-out paper, 90x143mm]. View looking along wall of temple towards group seated on ground. View looking down onto dancers, with spectators lining the roadway and on the roofs of adjoining buildings. View looking down onto dancers. View looking down onto dancers. View looking down onto dancing platform. Stereoscopic view. View looking down onto funeral pyre.[152x107mm]. View looking down onto pwe in progress in village square, with musicians at right. For another copy of this print, see Photo 92/9 (312).[119x180mm]. View looking down onto spectators: 'Behind them, tents with other spectators. Behind these the wooded plain. In background the mountains. A glimpse of the Kyi Chu can be seen on the right. In foreground two of the ropes supporting the canopy over the stage.' View looking down onto the crowds gathered round the tazias being processed through the streets. View looking down onto the dancers and spectators. View looking down onto the group. View looking down onto Toda village.[Albumen print]. View looking down on two dancers in skeleton costumes. View looking towards audience, Print 14 was evidently taken on the same occasion.[Silver printing-out paper, 142x83mm]. View looking towards bamboo structure built to receive offerings at the Wa Kyut Festival (end of Buddhist Lent, held in October). See also prints 15 and 54.[Gelatin silver print, 74x98mm]. View looking towards mountains, with figures posed in foreground. Jutial is just south of Gilgit.[Albumen print, 270x216mm]. View looking towards spectators at the religious drama/opera. The following figures seated in the tent on the roof are identified: Bell, Kennedy, Yapshi Sarpa, Tsarong Shappe, Ngar-po Shappe, Parkang, Duke of Punkang and two others...'Below in verandah are my lesser guests.' View looking towards the Ahlu-bin, a tall bamboo spire, with crowds gathered round. Scott visited Taungdo from 9-10 November to witness the festivities and records taking this photograph in his diary: 'Huge Ahlu-bin 108 feet high. Took a couple of instantaneous shots of it' (OIOC Mss Eur F278/4 f. 91).[Albumen print, 111x170mm]. View looking towards the barrow, with two Europeans and Indian posed at the site.[Albumen print]. View of a blacksmith working with two boys as assistants. View of a boy being tattooed on the leg. View of a buffalo cart with solid wood wheels.[Printing-out paper, 94x70mm]. View of a bullock cart loaded with bratty, the South Indian term for dried dung used as fuel. Possibly a Nicholas & Co photograph. View of a bullock-drawn cart laden with firewood. View of a catamaran on a beach. Possibly a photograph by Scowen & Co. View of a dance. View of a dwelling. View of a European man sitting in a chair strapped to the back of a Khasi man. A Khasi woman standing to the side is carrying a basket. View of a family outside their home. Original glass negative, no print. View of a family outside their tent. View of a family with a bullock laden with laundry? View of a farmer a ploughing a field. View of a farmer drawing water from an irrigation ditch. View of a fishing(?) boat at the river's edge. View of a food shop. View of a group of Kachin children grooming each others hair. View of a group of men on a road. View of a group of men sitting below a tree-house. View of a Hindu shopkeeper. View of a large gathering of Mahsuds. View of a man and boy encountered in the Baltistan hills. View of a man and three boys with dogs. View of a man and three women with camels, cattle and mules. View of a man at work. View of a man at work on a piece of cloth. View of a man carrying a bundle of logs and sticks on his back. View of a man carrying a bundle of washing on his head. View of a man carrying a chair on his back for transporting travellers, as demonstrated in print 13. A man and woman look on. View of a man carrying two vessels on a pole. View of a man in costume dancing before a crowd. View of a man in the auction shed at Sadiya. View of a man painting small clay figures. View of a man pressing gold leaf on a piece of fabric. View of a man sharpening knives on a grindstone rotated by another man. View of a man standing in a river. View of a man winding wool. View of a man with two bulls laden with baggage. View of a man working a loom. View of a man working a loom. View of an Arab family in a boat laden with rush matting. View of an ascetic standing in the doorway of a temple. View of a nautch dance in progress in a courtyard. This a later print of a much earlier Shepherd and Robertson photograph. See duplicate at Photo 210/2 (33). View of an elderly Japanese man walking along a street. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 22. View of an Indian group boarding a tonga. View of an inscribed gravestone. View of a number of 'butter offerings', pyramidal structures decorated with coloured butter, being carried by the crowd. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 27-30. View of a potter at work. View of a potter at work making bowls. View of a pottery seller. View of a row of catamarans on the beach. View of a row of wheels similar to ferris wheels. View of ascetics (sadhus?) sitting under umbrellas in a square. View of ascetic seated cross-legged in doorway of building.[?Matte collodion printing-out paper, 201x155mm]. View of a settlelment of thatched houses in a jungle clearing.[Albumen print]. View of a settlement of tents, with figures and bullocks in the foreground. Other copies at Photo 481/2 (17) and Photo 481/4 (9), where the figures are described as milkmen and the location given as Shelabagh. A tightly rolled print.[Albumen print, 263x206mm]. View of a shop displaying various bowls of grain . View of a sweetmeat seller. View of a sweet seller. View of a sword dance. View of a two-wheeled carriage drawn by two bullocks. View of audience seated on ground. View of a well in a Delhi suburb. View of a woman carrying a load on her back. View of a woman holding a baby with a child standing beside her. View of a woman operating the furnace. View of a woman showing her style of hair. View of a woman with a baby strapped on her back and a child standing beside her. The group is standing outside a hut raised in stilts. View of a woman working. View of a woman working a loom. View of a workshop. View of a young girl pounding rice. View of bullock-powered water mill. View of bullocks drawing water. On the left a group is sitting smoking a hookah. Exact location is uncertain but it is probably in the general vicinity of Delhi. View of camp by the Beas river. View of cobblers working in makeshift wooden shelters. View of coir makers (women and children) in a palm grove. View of couple weaving. View of crowds standing round a woman sitting at a table, it is unclear what activity is taking place. See also Print 107. View of dance in progress (see print 24), with unidentified haw or palace in background. View of dancers. View of dense forest, with a hut in the foreground. View of dwellings with a group of women in the foreground. View of facade. View of figures posed among the ruins of the house. Very faded grimy print. Reproduced in A. F�hrer, 'Monograph on Buddha Sakyamuni's birth-place in the Nepalese Terai' (Archaeological Survey of Northern India, vol 6, Allahabad, 1897), plate 7, there credited to Bhairon Bakhsh. View of five carved horses under a grass canopy. View of four bearers carrying the elaborately carved chair. View of four bullocks treading corn. View of four men carrying a jampan, a type of sedan chair, on their shoulders. View of four men standing round a type of box-litter or palki. View of fruit seller's stall. Possibly a Scowen & Co photograph. View of Gujar (?) women collecting water from a river. View of Gujars passing along a road. View of local boats collecting plants from the lake (lotuses?). View of long decorated posts in a village. View of loom being worked. View of massive tapestry hanging from the exterior wall of the Gyantse Dzong, with worshippers grouped beneath. View of men sawing through a length of timber suspended over a pit. View of men working a portable machine for grinding the sugar cane. View of monk squatting beside the window of the hermit's cell; a figure is just visible inside. View of open-fronted workshop, with blacksmiths at work.[Albumen print, 217x185mm]. View of religious drama in progress. View of religious drama in progress beneath the shade of an awning. View of shipwrights at work in a yard, constructing wooden boats. View of shopfront from street.[Albumen print, 185x216mm]. View of small round target slung between two wooden frames in front of the Lhalu Mansion. A horseman (very blurred) has just ridden past the target. This is part of the 'Gallop Behind the Fort' Ceremony (Dzonggyap Shambe): see Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 56-57. View of South Indian bakers preparing bread. A duplicate print appears at Photo 447/3 (47), in an album of photographs mainly attributable to Hooper. View of spun wool pegged out on the ground prior to weaving. View of stage area, with awnings above: 'On roof in background Dalai Lama's private stand with tent roof and wooden-latticed walls. In front of it flowers in pots. Right middle distance a long pole up which an actor has climbed to the top. In left foreground and right middle distance are Sim-ka-pas, the one in the left foreground is about 7 feet high.' View of thatched longhouse, with children gathered in front. The Chuliakatta Mishmis occupied a crescent-shaped swaithe of land at the western extremity of the Mishmi country (see map in Assam District Gazetteers: Vol. XI, Sadiya and Balipara Frontier Tract Gazetter (Shillong, 1928). Ashunli is there spelled Achunli. View of the disposal ground where corpses are cut up and left for the vultures. In this view one body lies on the ground, with two more still wrapped in sacking to one side. The corpse, if of a member of the upper classes, is taken to the disposal ground (tur-tro) by members of the hereditary class known as Tom-den. Corpses of the middle or lower classes are carried by the Ra-gyap-pas or other of the beggar classes. No relatives accompany the corpse to the disposal ground. See Bell, The People of Tibet, pp. 290-91. View of the papermaker holding lumps of pulp. View of the papermaker stirring the pulp in a tin box. View of the same disposal ground seen in print 331. View of three women holding walking sticks. View of three women working in a paddy field. View of Todas in the funeral area, with sacrificed buffaloes lying in the foreground. The 'Green' funeral is the ceremony held shortly after death. This is followed at a later stage by a 'dry' funeral, a form of commemorative ceremony.[Albumen print]. View of two actors on stage. View of two ayahs with European children and a pram. View of two Kashmiri girls, one with a water pot on her head. View of two Kashmiri women pounding rice. View of two manned boats on a river. View of two men at work. View of two men carrying orchids slung from poles. View of two men planing wood. View of two men talking. View of two men washing clothes in a tank. Duplicate at Photo 513/2 (51). View of two men with trays of sweetmeats. View of two open-ended thatched temple buildings, with the priest standing in the foreground.[Albumen print]. View of two sampan like boats moored at the bank of the Irrawaddy.[Albumen print, 98x66mm]. View of villagers gathered round sacrificed buffalo head. Stereoscopic print.[Gelatin silver print, 157x76mm]. View of women and children standing in a line. View of women at work at very large loom. View of women sitting beside baskets of vegetables. View of women spinning. View of young man seen in print 33, posed in the act of levering his right eyeball from its socket.[Sepia-toned bromide print, 223x271mm]. Views at the 'Ditragunta Criminal Tribes Settlement'. View showing a woman pounding rice in front of a thatched house.[Printing-out paper, 98x71mm]. View showing building work on the extension to the Residency. View showing the large pagoda about to be burnt at the funeral of a senior Buddhist monk.[Printing-out paper, 74x97mm]. View shows a man balancing on top of a high pole. Although unnumbered this photograph corresponds to No 1101 in the Bourne & Shepherd catalogue: 'Acrobats'. View shows a man feeding sugar-cane through a type of mangle, operated by another man. The juice is collected in a bowl. View shows three girls spinning. Views include a fruit seller, groundnut seller, milkmen and pack ponies. Views include a man milking a cow. Views include beggars, a cart carrying charcoal and views of the downs. Views of a fisherman casting a net and men hauling a boat ashore. Views of dead tigers, group portrait of guests at Bastar camp, three views of tribal dancers and drummers.[Gelatin silver prints]. Views of Gonds competing in various sports at a gathering during the Holi festival. The caption states that 5000 attended this event. The prints show participants climbing a greased pole (described as 'The Jeri or Gwilokri, a Gond game at Holi'), stilt races, sack races and a tug of war.[Gelatin silver prints]. View taken from the upper storey of a house looking down on a massed group of tribal people in traditional costume. The European figure in the background is probably Sir George Scott, Superintendent of the Southern Shan States. This photograph was probably taken during the visit of Sir Hugh Barnes to Taunggyi in 1905, or possibly during the durbar of Shan chiefs arranged by Scott the previous year (see introduction). Vignetted image. Group of three seated men. 'Group No. 2 consists of Rajpootes of the Rahikwar tribe located in the Fort of Gawilghur. the centre figure often accompanies gentlemen in pursuit of the bison of the Satpura range, and has been presented in consequence with two or three guns, with one of which he is always seen.' Vignetted image. Portrait of two seated men. 'The Gowlies of Berar are of the same caste as the Aheers of the North-Western Provinces, and are located in all the towns, and in most of the large villages of Berar. They live principally, if not entirely upon the sairy produce of the cow, and buffaloe. Those located on the plateaus of the Satpura range cultivate whatever they require for their consumption, as do also those located near the Taptee, and other rivers, where forage is abundant....' A copy print of this photograph also appears in The People of India, vol. VII, plate 397 (Photo 972/7 (401)). Village scene showing a man winnowing rice. Village scenes including a bullock-drawn cart and children in costume. Village scene with a family outside a dwelling. Village shrine in the form of a tiger, standing beneath a rough, open-sided thatched enclosure. Photograph uncredited, but probably by Verrier Elwin.[Sepia toned print, 245x162mm]. Village wedding, with the bride being carried in a type of palanquin. Viw of men sawing timber with a two-man saw. Vultures feeding on corpse. Wa group, including some of the figures seen in preceding prints. Wa group, out of focus. Wa man and woman, with baby, standing in a field of opium poppies.[Gelatin silver print, 138x81mm]. Wa man squatting on a country path. Slightly unsharp. Wandering ascetic and his disciple on the road. Washermen and women at work. Washermen at work beside a stream. Water-carriers filling bags at a watering hole and loading the skins onto bullocks. Other copies of this photograph at Photo 481/4 (10) and Photo 932 (6), where the location is given as Old Chaman and Khojak respectively. These identifications seem more plausible than Quetta. Watercolour portrait of a Karen couple by a native artist. Watercolour portrait of two Karen men, by a native artist. Waziri family group on the road, with laden camels and cattle. Waziri group posed on the road. Weavers seated at their looms in front of a house. Wedding group. With a European figure posed beside the partially-completed dugout cane. Original and duplicate negatives only, no print. With donkeys in the background (same location as prints 98-99). With Nicobarese posed in foreground. The hut is a circular house on piles with a perfectly symmetrical domed roof of thatch. With note on reverse of print in Teague-Jones' hand: 'Burmese ladies take a great pride in their dress and general appearance and particularly in their hair and their traditional hair-do is an outstanding work of art.'[Gelatin silver print, 55x81mm]. With servants holding the horses' bridles. With the rest of his family in the background. With two women at work weaving. With wicker baskets of pots on their backs. With woman standing beside tree. Woman and children. Blurred snapshot. Woman and children drawing water at a pump in the street. Carte-de-visite sized print. Woman and two children on a forest path.[Lantern slide, 75X75 mm]. Woman at riverside, with thatched houses in background.[100x78mm]. Woman attending Dasahara festival? Woman at work at her loom. Woman in traditional dress seated in front of doorway. Woman laying out cakes of dung on the ground to dry. Woman pounding rice with a wooden pestle and mortar.[Gelatin silver print, 131x81mm]. Woman seated at a grindstone. Print unsigned, probably by Deen Dayal. Woman seated at a loom outside a house raised on stilts. The loom is in the form of a rectangular wooden frame in which the woman sits. Woman seated at spinning wheel. Woman seated on ground, with goods for sale laid out on the cloth in front of her. See note at print 46.[Gelatin silver print, 81x134mm]. Woman seated on ground holding child. Woman seated on low wall with child. This pair also appear in print 72 Woman seated on rock with two children. Woman selling tea by the roadside. Woman standing in the same position as the man in prints 11-12. 'White cotton cloth tied round head, earrings of silver, necklace of four-anna pieces. Brown cotton robe with waistband of same material and colour. Outside robe is of black velvet.' Woman standing on roof of house next to prayer flags. In this photograph she has changed her dress and put on the traditional head-dress. Woman weighing chillis in a street market. Woman with bound feet standing in a Hong Kong street. Woman with child carried in a basket on her back. Woman with flowers in a small canoe. Duplicate at print 84. Woman with two cows. Women and children grouped in front of thatched houses. Women and children posed at same location as print 58. Women and girls carrying loads of barley on their backs. Women at work by a stream, with paper-making frame. Women husking rice with large wooden pestles and mortar.[Silver printing-out paper, 75x103mm]. Women laying out warps on ground. Women pounding rice. Women with produce at side of road.[156x111mm]. Wooden tiger figure under a grass canopy. Working working with her loom leaning against a wall. A dark print. Worshipper prostrated on the Lingkor, the outer circle of Lhasa city, around which religious circumambulations were made. Young bullock being trained to carry wicker baskets.[Printing-out paper, 97x73mm]. Young girl seated in archway with pots and baskets.[Gelatin silver print, 53x80mm]. Young Lushai girl with a load of wood on her back. Young man holding eye gouge near the outermost point of the right eye, preparatory to extruding the eyeball.Original whole-plate glass negative at Mss Eur F222/47.[Sepia-toned bromide print, 247x308mm]. Young man posed in a similar position to the fakir in print 28, with eye gouge raised.[Sepia-toned bromide print, 235x257mm]. Young woman and girl seated on rock.[Gelatin silver print, mounted on card, 203x255mm]. Youth seated in centre of group.[Gelatin silver print, 89x59mm]. Youths playing chinlon, in which a wicker ball is kept in the air by use of the feet, legs and thighs, but not the hands.[120x97mm]. Youth standing at roadside. Zulu man posed with his rickshaw.[Printing-out paper, signed 'J.E.M. Photo' in the negative, 190x141mm]. Zulu man standing in kraal. ofPhotograph of a sculpture of a seated man, reading. ofSculpture panel in deep relief, surmounted by a pediment and standing on a plinth with an inscription in Greek. ..not down as stated in the 'Pioneer', taken from the fork between the two branches of the canal. The official photographer is visible arranging his camera to take the silver elephant on its pedestal where the actual opening ceremony took place a couple of hours later.'[Gelatin silver print, 140x80mm]. ..The 'feeder' channel is seen straight ahead and the other branch takes off from the right. You can just see the tops of the gates which, later, were lowered (not raised as stated in the 'Pioneer') to let water flow over and through. This was taken right in the face of the sun. Observe the shadows of men and winches up above on the over-bridge.'[Gelatin silver print, 130x80mm]. Many, with their crews, foundered at sea; others were overturned and floated about bottom upwards; others again were driven ashore, often carried far inland by the water. The above sketch shows several lying on the land, some badly damaged.' It suffered more than any other European dwelling in the Colony. Though it was most substantially built, the roofs were completely destroyed, whilst the upper part of one end was demolished. It should be stated that its situation was more than ordinarily exposed.' The strike lasted nine days but employees won part of their demands.' Showing marchers carrying a union banner. My Pathan orderly Gulab Hussein of 59th Rifles, Frontier Force (far happier back in uniform than in Persian disguise. See earlier photo.) Centre: Capt. [John Alexander] Sinton, V.C., R.A.M.C. and right foreground Capt Haines, X Jat Regt., my assistant. In background, stretcher bearers and other medical orderlies.'[Gelatin silver print (modern print), 193x112mm]. They are handsome structures, and being very solid and strong, suffered comparatively a small amount of damage. The roofs, however, were blown off, and in many cases other damage was done. One of the houses to the left was destroyed.' This sketch illustrates the means adopted. Two large hulks were placed, one on each side of the steamer, under which chains were passed, and then drawn over heavy beams secured across the vessels. On being raised, the Leonor was found to have sustained great damage, there being huge rents in her side.' C.M.G., C.B. It was severely damaged by the typhoon; the roof being almost entirely carried away and many of the rendered untenantable. His Excellency and several guests were residing at Mountain Lodge on the night of the typhoon.' White [and] F.E. Davy' are named below the print. Douglas Lapraik and Co., stretching from the Praya Central. The above sketch shows its appearance after the Typhoon. It was broken by drifting steamers. Beyond the wharf may be seen the masts of sunken vessels. As depicted on the left, there was here considerable destruction of the Praya wall; the heavy blocks of granite of which it was composed being scattered about in the roadway or thrown into the Harbour.' In addition to country carts we had to send out parties of Turkmen to collect camels from the outlying auls (villages). Here are some of these animals being brought in across the snow covered desert.' Another copy of this photograph at print 64.[Gelatin silver print (modern print), 194x85mm]. Antonio. The front part, shown in the above sketch, was virtually all that remained; the other walls and the roof being thrown into heaps of rubbish. The destruction, begun by the fire, was soon completed; storm and flame aiding in the work. The fire had really to burn itself out, for amid the typhoon it was impossible to attempt to extinguish it.' The typhoon was felt with great severity in this neighbourhood. Large vessels were driven ashore, trees uprooted, paddy fields destroyed, native houses blown down; the place indeed presenting, after the storm, a scene of utter confusion, destruction, and desolation.' Now enemy troops were suddenly spotted carrying out a wide encircling movement in the open plain aimed at occupying Kaakha railway station in our rear. We were using the bridge as an O.P. Troops in photo are XIX Punjabis (Sikhs and Pathans), Russian Transcaspians and Turkmen. Aug. 28 1918 early morning.'[Gelatin silver print, 132x77mm]. Close in shore, with her stern under water, is the Spanish steamer Albay; a little beyond, all submerged except her masts, is the Leonor, another Spanish steamer; and further away is the barque Lizzie H. The Captain, officers, and crew of the Leonor perished during the typhoon. The Albay had only arrived from Manila a few hours before she was lost.' It shows especially the great damage done to the roofs, and the dilapidated state in which the typhoon left the summer residence of His Excellency the Governor. The Peak flag-staff may be seen on the summit of the hill, - all the yards and gear gone, and the staff itself thrown out of the perpendicular.' The different sketches given of this place show the character and completeness of the destruction caused to it by the typhoon. The comparative coolness of the Peak during the trying heat of the Hong Kong summer makes it an agreeable place of residence, whilst the view obtained from it is extensive, varied, and picturesque.' It is separated from Hong Kong only by the harbour. Many sampans went over to here for better security, and a fleet of them is seen in the picture. The buildings in the foreground are demolished; and the long line of houses constituting the chief part of the village, are badly damaged.' In the above sketch she is shown slung between two hulks. Steam tugs were employed to tow her away. On being raised, she and the Leonor were taken across the harbour to Kowloon Dock to be repaired.' The typhoon left it indeed but a ruin, the whole roof and parts of the wall being gone. The sketches depicting the effect of the storm near this spot show at a glance its immense power, and the wholesale destruction it caused.' With a paddle steamer moored at the jetty beyond the workshop. ..The flag-staff, with its base drowned in beautiful shrubs and flowers, which we see quite at the right of the picture, was in reality in the exact middle of the broad turf street, 200 yards wide and twice that length, which led as terminus to the tents of the Prince of Wales and Lieutenant-Governor. On each side of this street were ranged long rows of uniform double-poled tents, fourteen in a row...The characteristic of the camp in all its arrangements was finish, order, and solidity. It was hard to believe that the whole thing was the creation of a few days, and would vanish in a few more.'[Albumen print, 136x96mm]. This church, built by some Jesuit fathers, was destroyed by fire some forty years ago. What is here shown is all that remains of the once noble edifice, - one of the finest specimens of ecclesiastical architecture outside of Europe. It was not damaged by the typhoon. The buildings on the right show part of the effect of the great fire which raged simultaneously with the typhoon.' R.H. the Prince of Wales at the Camp of Exercise were pitched in a fine open plain, about a mile from the Kashmir Gate of the city and the same distance from those of His Excellency the Commander-in-Chief, and composed a fit military place for the occasion. They stretched the whole breadth, a hundred yards, of the great avenue formed by the two rows of tents containing the royal suite, and included, besides noble apartments for sleeping, dining, sitting, and all other private or ordinary purposes, a vast durbar-room or reception-hall, which, though its walls and roof were of canvas, was really, by its proportions and decorations, superb enough for the palace of a king's capital.'[Albumen print, 135x97mm]. The partly sunken steamers and the damaged barque, the destroyed wharf of Messrs. Douglas Lapraik & Co., and the part demolition of the massive stone wharf represented in the foreground, evidence the extreme violence and destructiveness of the gale. It will be seen that the top part of the stone wharf is completely washed away.' Many of the junks cast ashore were, like those here represented, greatly damaged; and had to be broken up. The destitution and suffering inflicted on the boat people were very great.' Not only was the Praya wall washed away, but the thoroughfare itself, from its damaged state, and the thrown-up rubbish, was at places impassable. The Canton Wharf was almost wholly destroyed. The large and substantial buildings shown suffered comparatively little damage; though their roofs did not escape the effects of the typhoon.' The Praya wall is thrown down and the roadway obliterated; whilst the massive walls of the well-built houses are demolished, and parts of the roofs carried quite away. A heavy flag-staff was here blown down.' She was an old wooden ship, and had been stationed at Hong Kong for some years. She had been used as a hospital ship, but was dismantled shortly before the typhoon. She became a complete wreck. The disconnected piles in the water are the remains of the bathing house belonging to the Victoria Recreation Club. The whole of the buildings of the club, both in the water and on the shore, were completely destroyed.' Stern view of the Flamer, which lies ahore on her beam ends. The typhoon seemed peculiarly destructive in this neiighbourhood. A large portion of the Praya wall was washed down, and the coping stones, heavy blocks of granite, were carried some distance. The property fronting the harbour suffered considerably, many of the houses being unroofed and in other ways damaged. The small boat shown in front are known as 'sampans'; they are the only 'household accommodation of many Chinese families.' Children taking part in a potato sack race. Children taking part in a three-legged race. Natives posing under a banner that states ""Long Live Their Majesties"". The poor being given and eating their food. The poor with their food. [Albumen print, 136x97mm]. Better prints of most of this material can be found in other parts of the collection. The comprises three general views of the city, one view of bullocks operating a Persian wheel at a well, nine views of the Rambagh Gardens including the British military camp, and eight snapshots relating to the aftermath of the disturbances. These last show a group portrait of a military picquet, a burnt-out armoured car, a British soldier on duty in front of a whipping post, British soldiers (under Howgego's command) moving money from the National Bank, a wounded prisoner under guard and two views of an Indian being forced to crawl along a street in the city. Plus 11 modern copy prints. The other subjects, apparently taken in France, are four group portraits of RAF officers, a view of an unidentified chateau and an unidentified village.[Gelatin silver prints.] M. Monteath giving his speech from the dais. ..A photograph of a page of the Quran, in the ancient Arabic script as first caligraphed by Usman, the third Caliph after Muhammad.] One sheet. Published by H.A. Mirza and Sons, Photographers, Delhi. [1st November, 1908] 11x8, litho., 1st edition. Price Rs 2'. Lord and Lady Curzon and the Duke and Duchess of Connaught are seated on state elephants, the Grand Duke of Hesse and his entourage stand on the ground between. Poor quality snapshot. Duplicate at Photo 10/27 (253). [Gelatin silver print, 152x203mm]. Colonel Ma is on horseback at right; Randall Parr (Chinese Customs) can be seen on the other side of the ceremonial umbrella; British officers on horseback at left. The exact location of Shadipulli is unclear but Sindri is probably the village in Jodhpur. Presumably taken on the same occasion as print 38. With an escort of state troopers. One of the series of views taken by Simpson and marketed by Bourne & Shepherd.[Albumen print, signed 'B. Simpson 47' in the negative, 286x221mm]. Group named from left (with later annotations): 'Capt G.G. Goschen; Capt J.M.B.C. Plowden; Self [Captain Portal]; Mr Cecil D. Rae; Col Balfour; Cicely [Goschen]; Mr Eric R. Wood; Their Ex's [Lord and Lady Goschen]; Major H.A. Hilderbrand; Major K.O. Goldie; T. Melsom (Trainer of Governor's Cup Winner)'. Probably referring to the end of a Gilbert & Sullivan song. Caption note continues: 'I took over from him as Commissioner of the Raipur Division - I had been Deputy Commissioner of the Raipur District immediately before'. Dr Girdwood was expressly forbidden to describe it as a real scene of action. [signed] M.C. Seton'. A dedication on the front free endpaper reads: 'With Reverential regards From D.B. Trivedi, Rai Saheb, Indore, Central India'. The title-page, hand-drawn in the form of a tablet with trees and birds, reads: 'Memories of Mrs & Hon'ble Col Campbell, CIE (Hon'ble the Resident for Central India) & others gracing the dinner given by Rai Saheb, Muntazim Bahadur, D.B. Trivedi, on 3rd January 1946. Photographed by: Studio ""Study"", Siyaganj, Indore'. The photographs have been heavily painted. Print 1 D.B. Trivedi's house, decorated with lights spelling 'Welcome'. Prints 2-7 Views of guests at the dinner table. Print 8 Portrait of D.B. Trivedi(?) in military uniform. Caption on the print reads: 'Resting'. Puranik, Shri. Rajkumar Bapusaheb, Lt.Col. H.Wilberforce-Bell, Shrimant Pantsaheb, Mrs.Wilberforce-Bell, Shri.Rajkumar Raosaheb, Shrimant Yuvraj Bhausaheb. Mr D.A. Telfer, 2. Mr Raj Bans Bahadur, 3. Mr J.A.B. G[?]ylls, 4. Mr R.E. Grant Govan (Vice-President), 5. Mr R.N. Chawla, 6. Mrs Horsman, 7. Mr Nawab Ali Siddiqi, 8. H.H. Maharaja of Jodhpur, 9. Mr Batra, 10. Mr Balbir Singh (behind), 11. HH the Raja of Kalsia, 12. Mr P.D. Sharma, 13. Mr O.N. Dang, 14. S. Surjit Singh, 15. Mr Gurbhajan Singh, 16. Mr Bhagat B. Lal (Secy & Asst Pilot Instructor)'. N.D.T. (Dudley) Sutton, IP, offg SP, Special Branch, CID; D.A. (Denzil) Bryan, ICS, Secy to the Punjab Premier (Khizr Hayat); unknown, probably Army Liaison Officer; A.A. (Angus) Macdonald, OBE, ICS, Secy to the Punjab Govt, Home Dept; F.H.G. (Frank) Bridgman, IP, offg SP, Special Branch, CID; W.H.A. (Bill) Rich, IP, Asst to Deputy, Inspector General, CID; D.C. (David) Elliott, ICS, ? PA to Deputy Commr, Lahore?'. Duplicate at ASIO 4592 where it's described as, 'Lower Coleroon Anicut; breach of 1864 under span'. [Silver printing-out paper, 142x81mm]. Poor quality print, faded. On the extreme left can be seen several photographers - this is the spot from which many of the photographs in this sequence were taken. The flags bear the various crests of the regiment, the campaigns fought and the motto In Veritate Religionis confido. Date and location unknown. The photographer S. Paul was based at Hirapur, near Asansol in West Bengal, and the photograph may have been taken at Dhanbad. G. McCrae on the verso reads: 'Any doubt of the authenticity of the tale that the Burmese Kings revered white elephants and had them suckled by women is removed by this picture and the letter of 1918'. The accompanying letter by Maung Kyaw, published in the Rangoon Gazette, April 8 1918, reads: 'During the reign of our last king one white elephant calf was found roaming about the forest...[it] was caught by the Burmese authorities and nursed by fifty strong and healthy nurses and made to drink from bowls of precious metals. Then...it was taken to Mandalay on a litter carried by men, together with fifty nursing women, but unfortunately the young elephant died en route to Mandalay'. [?Gelatin developing-out paper, 205x145mm]. For a note on the photographer attribution, see collection introduction. With the treaty table, Captain O'Connor's seat, Bhutanese group, Chinese group and Shap� noted in pencil. [Woodburytype, 187x137mm]. The Maharaja of Jaipur has been identified by an arrow on the left side. Platinum print. [Gelatin silver print, 81x57mm]. A faded print. In front in large letters was the word 'Welcome' and on either side were rich carvings of Chinese dragons, and the other fearful and wonderful things in which the Chinese builder and painter delight. Running the whole length in front were two rows of richly carved figures, while suspended from the roof were three stages representing the stages of theatres crowded with brightly clad figures. This pandal bears away the palm as the most elaborate and costly of the many erected in His Excellency's honour' (unidentified newspaper cutting). Scattered about on the steps of the Cave were imitation monasteries. Above and right in front were two figures of dancers while several others were to be seen peeping out from among the foliage with which the cave was decorated. High above was a small and well-modelled pagoda with several minarets around it' (unidentified newspaper cutting). The print is a panorama made from three separate prints pasted to board. The nearest animal wears the celebrated golden ambari or howdah of Baroda (see Photo 2/7 (5). Some individuals are named: Captain Lucas, Captain George (ADC), Mr Robertson (Administrator), Mr Sladen (ASR), Self (PA) [Wilberforce-Bell]. With typescript note attached to reverse of print: 'The Khan's procession from his car to the dais at the Durbar, slow-marching to music. In front, two Viceroy's ADCs, in the middle the Wazir-i-Azam (nearest to camera) and the Heir Apparent (Mir Ahmad Yar Khan), last the Khan and myself. On the right and beyond, the assembled Durbaris of Baluchistan.'[Gelatin silver print, 129x78mm]. [Gelatin silver print, numbered '50' in the negative, 138x83mm]. The 'Old Woman's Nose' presumably refers to the sharply peaked hill in the background.[Albumen print, 209x135mm]. The scene is described in Hutchinson pp.129-31, and the illustration used in the book appears to be based on this photograph. The views include the royal barge being towed by leg rowers, boat and canoe racing and Sir Harcourt Butler being greeted by the crowd. These photographs may be of the regatta held in November 1927 on the occasion of Butler's departure from Burma (see Mss Eur F116/83 (21)).[Gelatin silver prints; silver printing-out papers]. It also includes some views of the durbar held by Butler at Maingkawn on 27 January. Most of this material is duplicated in Mss Eur F116/83.[Gelatin silver prints]. Qrs. 1/1st (KGO) Gurkhas'. E. Mitton, Scott of the Shan Hills (London, 1936), facing p.246, and there captioned: 'The bed of the Gold Stream. This photo is of exceptional interest. It shows men of many nationalities, in Scott's escort, dredging for gold by special permission in the most secret and sacred spot in the Wild Wa country'. The visit to this spot, known as the Cave of the Sacred Golden Deer, is described in Mitton op. cit., pp.244-6. No gold was found. See also Photo 92/5 (1). Note that Beato has re-arranged the position of two of the Chinese dead in order that their faces are seen head-on. This is Print 14 in the published catalogue of Beato's China views, and is there titled 'Interior of the English entrance to North Fort on 21st August, 1860.' The following identifications are made beneath the print: Chinese Amban; Regent; table at which the treaty was signed; Captain O'Connor's seat. Prints 499-501 are credited to 'Lt. Bennett'. This photograph is reproduced in Francis Younghusband, India and Tibet (London, 1910), p. 304. 'This second view of Ball's Court shows still further the handsome and substantial character of the edifice; and bears witness to the wide extent of the damage inflicted. Other buuildings in the neighbourhood are seen to have suffered, though less severely. The uprooted trees are a further indication of the violence of the storm and of its disastrous effects.' This meeting took place three miles from the city. Duplicate at Photo 430/40 (4). Viceroy in conversation with the Nawab. Caption on verso reads: 'First Tum Tum driven up the Gomal Road by Capt A.G. Shea, 1907'. A.B. India Office: Furnishings for the soldiers' huts on A.A. Searchlight and Gun sites were presented today by officials of the Indian Office. Forlorn and miserable these men of an A.A. unit are [seen] in their sparsely furnished hut as it was before officials of the Indian Office presented them with extra furnishings'. [Gelatin silver print, 136x80mm]. [Gelatin silver print, 27x51mm]. He records in No Passport to Tibet, p. 30, that 'When I went into the Chulikatta country I was given instructions to move nowhere without twenty-five Military Police at the head of the line, and I was provided with only ninety Naga coolies to carry baggage. With such instructions it was quite impossible to go any great distance and I was driven in the end to go forward with only three Military Police.' Bailey's first task on taking over as Trade Agent at Gyantse was to escort the Tashi Lama, who had been paying an extended visit to India, back to his monastery at Shigatse. The boat is constructed from a raft-like superstructure resting on two rowing boats to form a sort of catamaran. This photograph is reproduced as the frontispiece in Hardinge's book On hill and plain (1933) where it is captioned: 'Lord and Lady Hardinge on 'Maggie''. All named: Back Row; Wheeler, Capt Meek, Capt Kay, Major Wood, Major Strong, Capt Morse, Mr Sladen, Trotter, Turner, Macnab (ICS), Capt Macnab, Self. Front Row; Miss Gupta, Mrs Roughton, Mrs Kay, Mrs Wood, Miss Impey, Maharaja of Bhavnagar, Mrs Merewether, Margaret, Miss Wheeler, Miss Wheeler, Thatcher, Proctor-Sims. General view of the campsite. View of a six-camel carriage. Sitting in the carriage are Mrs Lawrence, Lady Beatrice Clementina Aitchison and an unnamed woman. Standing in front are, from left: Dr Roe, Lady Gertrude Aitchison, Lady Marion Aitchison, Baron de la Grange and Jemadar Hirsa Singh. Possibly a Gill photograph. Possibly a Gill photograph. The album contains 116 uncaptioned prints, mounted one or more to the page within rules, recording the Viceroy's visit to Udaipur in 1939. Among the subjects covered are the Viceroy's arrival and reception, inspection of the guard of honour, a tiger shoot with the Maharaja of Udaipur, a visit to the Lake Palace, formal group portraits of the Viceroy, his family and officials with the Maharaja of Udaipur, visits to various archaeological sites and architectural views of Udiapur, its palaces and its surroundings (including Chittaurgarh). [?Gelatin developing-out paper, 194x145mm]. [Printing-out paper, 191x118mm]. [Gelatin silver print, 140x80mm]. 1797. 'The 'Alaska', shown above, was a paddle-wheel vessel of about 4,000 tons, belonging to the Pacific Mail Steam Ship Company. She had been taken round to Aberdeen to be docked. On the night of the typhoon she broke from her buoy and was driven ashore. She did not, however, sustain much damage. The vessel to the right is a Chinese junk, also cast ashore by the storm. Hundreds of junks foundered during the typhoon; and the loss of life amongst their crews was fearful. Under-exposed photograph. The exact identity and location of the regiment is unknown. Title in the Holmes catalogue given as 'Jirga of Khyber Maliks' (village landowners or headmen). The original glass negative of this print is at number 140. See print 59 for a view of the funeral procession through Mandalay. See prints 21, 22 and 26 for other views of the building. Precise location not precisely determined, but probably the building at the western end of the Boat Canal, marked on maps as 'Main Pumping Station'. Duplicate at Photo 10/23 (22). Duplicate at Photo 10/27 (254). V. School Sitters are identified as follows: Kyoukmyoung Myoza Atwinwoon; Wemmasoot Myoza Woondouk; Toung taya ngazeh Bo; Oo Mya; R.H. Pilcher; Thanjet Woondouk; Oo Pouktoon. See 215 for letterpress text accompanying print.An engraving from a photograph of the principal members of the Burmese embassy in court dress, by Bourne and Shepherd, is published in 'The Graphic' of 21 October 1882, p. 16. The two portraits in this album, showing the sitters in less formal dress (prints 214 and 216), were presumably taken on the same occasion. 'The Graphic' presumably also had access to these images, since the letterpress description of the embassy (p. 6), describes the dress worn in these portraits: 'Their ordinary costume is much more simple, being the ordinary Burmese dress, consisting of a white muslin jacket, with bright parti-coloured putsols, or petticoats, and the Court headdress of white muslin wound round the upper part of the head, below the topknot.' A minaret of the Char Minar is visible through the arch. Print unsigned, but numbered in style of Deen Dayal. Print unsigned, but numbered in style of Deen Dayal. L. Corfield, H.B. Ijaz Ali and Mr Smith on platform of Khairpur Station. L. Corfield, H.B. Ijaz Ali and the Smiths looking over the garden. L. Corfield and group examining stall. L. Corfield and group on platform, prior to departure. L. Corfield and group on platform, prior to departure. The caption is facetious and refers to the chairs and carpets arranged on the platform in the open air. L. Corfield and group walking through the excavated city. L. Corfield and H.B. Ijaz Ali walking along line of boy scouts. L. Corfield and H.B. Ijaz Ali watching the parade, with Smith and Nazim of the State Police standing in the background. L. Corfield examining the stall of Seth Mool Chand, with bottles of country spirit on display. This is presumably at a sale to raise funds for the war effort. The Minister H.B. Ijaz Ali and Mrs Smith also in picture. L. Corfield handing a coin to a contestant in the wrestling contest. L. Corfield inspecting cattle during his visit to Khairpur. L. Corfield inspecting pottery on display during his visit to Khairpur. L. Corfield inspecting poultry during his visit to Khairpur. L. Corfield on tour of mill. L. Corfield receiving the present of a mirror from Seth Mool Chand. L. Corfield shaking hands with an unidentified man. L. Corfield walking over a demonstration bridge made by boy scouts. Figure at side is identified as 'Anxious Scout Commissioner'. P. Skrine and the unidentified Indian seen in prints 75-76, walking past the guard of honour drawn up on the platform.[Gelatin silver print, 274x165mm]. P. Skrine greeting an unidentified Indian dignitary on the railway station.[Gelatin silver print, 140x106mm]. Duplicate at Photo 627 (85). Part of the Holmes series of views entitled With the Derajat Column in Waziristan. Duplicate (faded) at Photo 355/2 (37) and at Photo 355/3 (27). The figures in the group are identified as follows: (sitting in the carriage): Mrs Lawrence, Lady Beatrice Clementina Aitchison and an unnamed woman; (standing in front, from left): Dr Roe, Lady Gertrude Aitchison, Lady Marion Aitchison, Baron de la Grange and Jemadar Hirsa Singh. Duplicate at Photo 10/18 (92). Duplicate at Photo 10/18 (93). This location not identified, possibly in Jamkhandi State (in modern Karnataka). A tonga drawn up in front of the tents.. Second copy neg at B.8075. Mary Ramsden is seated in the front vessel. Platinum print. See Photo 430/78 (23) for another copy of this print, with the figures of Lord and Lady Curzon added by photomontage. [Gelatin silver print, 130x75mm]. Portman is identified as the man with his back to camera. E. Macgregor, Assistant Commandant, with members of the party which destroyed the village of Ponnyo on 15-16 January 1930, following the refusal of the chiefs to abide by government regulations.[Gelatin silver print, 77x50mm]. ..and save them from the state of anarchy and oppression from which they were suffering. Subsequent events throw some doubt upon the genuine character of these professions...' N. Curzon; Earl Manvers; Sir St. Northcote, Bt, MP, GCB; Duke of Portland, Chairman; Lord Galway, MP; E. Cope'. Showing unidentified Europeans on the verandah of the durbar shed (see print 69 for a view of this building under construction), with group of Shan townspeople in the foreground. David Mercer MacDougall, a 37 year old Scot of the Colonial Civil Service who has since become the first Briton to reach England from Hong Kong since it fell to the Japanese, was also a member of this party. Associated Press photo shows some of the escapists from Hong Kong including (second from left) Major Arthur Goring, Staff Officer of the Hong Kong garrison, wearing cap scarf and sweater and (right with bouquet) Commander Hugh Montague, RN. [Later annotation] Between them, behind the lady, is Mr W.D. Robinson, Indian Police, Punjab'. They are here playing nap, a habit caight from their comrades of the British army'. Born at Edinburgh 27th Nov 1822. Died at Cawnpore 11th August 1857 of cholera while serving under General Neill in the suppression of the Great Mutiny""'. Also round the cross is written:- ""This memorial was raised by 20 men of the same Regt who were passing through Cawnpore, Nov 21st 1857""'. Though He slay me yet will I trust in him""'. J. Woodford 2nd Batt Rifle Brigade killed in action before Cawnpore Nov 28th 1857. This stone was erected to his memory by his brother officers""'. Kelly, H. Donaughey, Corporal J. Lankham, W. Smith, Private J. Gee of the Band HM 64th Regiment who died at Cawnpore between the months of September and November 1857. Deeply regretted by thier comrades who have erected this stone. Also of B. Fitzpatrick & D. Muir who fell at the action of Cawnpore on 28th November 1857""'. This monument is erected by a non commissioned officer who formerly belonged to the 1st COMP 6th Batt""'. Excavation below spring levels is in progress from piers Nos 5 to 10. In the distance the sinking of wells of piers Nos 13 and 14, and of the south abutment are in progress'. V. Mavalankar, Speaker of the Central Assembly on his left'. Daddy [J.R. Dunlop Smith] is holding umbrella over Her Excellency. Sir Harold Deane behind Daddy & General Sir J. Willcocks behind him. Capt Bulkeley is on extreme right'. On the left is Subadar Major Feteh Singh of the 2/39 Garhwal Rifles who was made Sirdar Bahadur and on the right Jemedar Puncham Singh Negi who was decorated with the Military Cross'. This photograph was not taken till past 5pm, too late in the day for successful instantaneous photography'. They are flat bottomed, and only draw about 4 feet of water, but they are capable, on their two decks, of accommodating a large number of passengers'. Just beyond it is seen the tower in which the sacred gong and drum are beaten at intervals during the day and night'. The white building is the 'Pandal', erected for their reception, in which His Excellency was presented with addresses'. Water rushed out of mouth of well to half way up the gantry and burst through the temporary masonry built on top of the well. Just sufficient masonry was left to support the gantry. The four men who were on the well escaped unhurt'. The next row the reelers sitting at their bassines; the 3rd row, those who prepare the cocoons for reeling; the 4th row another row of reelers. Murtaza Husain Khan. Saiyid Wajid Husain, Secretary, is knee-deep in water transporting provisions'. 2 tons per square feet of base, subsidence 0.84 inches'. The Myosa did not know to whom he shld show allegiance and went and hid himself'. Photograph shows the myosa seated outside his haw or palace, with retainers in attendance, some holding umbrellas over the central group. Probably taken during a durbar with British officials during Scott's attachment to the Mekong Commission. Similar photograph at Photo 92/5 (46). ..Caskets on the table. The gold mining companies presented him with a gold chain and pendants worth �500, made of Kolar gold.' Group of dignitaries grouped behind a table in the durbar hall, with the young Sir Krishnaraja Wadiyar in the centre reading his address. To the right stands Colonel (later Sir) Donald Robertson, the British Resident and to the left Sir Sheshadri Iyer, Diwan of Mysore 1883-1901. For a full record of the marriage and attendant ceremonies, see Barton, Son & Co., '24 Photographs illustrating the Royal Marriages at Mysore, June 1900', a published work containing half-tone reproductions.[Albumen print, mounted on card within border, stamped 'Barton, Son & Co., Bangalore', 297x234mm]. R.H. the Duchess of Connaught entering the stand from which the Lord Bishop of Calcutta and clergy officiated. In the distance may be seen the massed bands (conducted by Captain Sandford) and the choir, whose singing through large megaphones produced a unique effect.' This arch represents the British Empire, erected at the junction of Merchant Street and Soolay Pagoda Road, Rangoon, on January 1st 1903, in honour of the coronation of King Edward VII. Notice the Australian cattleman in the centre top panel.'[Printing-out paper, 114x149mm]. This arch represents the British Empire; erected at the junction of Merchant Street and Soolay Pagoda Road, Rangoon, on January 1st 1903, in honour of the celebration of the coronation of King Edward VII.'[Printing-out paper, 116x156mm]. This arch, representing the British Empire, was erected at the junction of Merchant Street and Soolay Pagoda Road, Rangoon, on January 1st 1903, in honour of the coronation of King Edward VII.'[Printing-out paper, 112x157mm]. On Soolay Pagoda Road looking towards the wharf.'[Printing-out paper, 155x111mm]. 1. Hpongyi-byan at Kemendine, Burma. General view of the ground where the festivities were held, showing principally the non-descript bird bearing the cage in which the coffin of the Hpongyi was supposed to have have been brought on to the ground. The bird is supposed to have carried its precious burden and alighted on to the characteristic base on which it is seen standing, on one leg.'[Printing-out paper, 156x110mm]. 10. Hpongi-byan at Kemendine, Burma. This shows another pandal with the coffin and cradle and precious mantle, on exhibition, and also the faithful doing obeisance to the venerable remains.'[Printing-out paper, 154x113mm]. 2. Hpongi-byan at Kemendine, Burma. This is a closer view of the ground than No. 1 [print 17], and shows the two cages, which accompanied the car on which the Hpongyi's remains were conveyed to the ground. The small pandals behind and to the left of the two cars, are where certain rich Burmese ladies were dispensing hospitality to all who may choose to call. I had an ice and a cup of tea at the white pandal.'[Printing-out paper, 158x113mm]. 3. Hpongi-byan at Kemendine, Burma. This shows two other refreshment tents and also the cradle in which the coffin was on view just before the cremation. The bier is covered with a mantle studded with precious stones and ornamented with gold lace. It was reputed to be worth ten thousand rupees.'[Printing-out paper, 159x114mm]. 4. Hpongi-byan at Kemendine, Burma. This is a representation of that part of a Hpongyi-Kyoung [monastery] where Buddha's image is usually kept. The base is decorated with allegorical figures and pictures, some of which were most fantastic, and others which would have done admirably for an illustrated edition of Dante's Inferno.'[Printing-out paper, 152x115mm]. 5. Hpongi-byan at Kemendine, Burma. This shows a closer view of one of the cages, shown in No. 2 [print 18]. The car was a most magnificent structure, standing between 80 and 90 feet from the ground.'[Printing-out paper, 115x152mm]. 6. Hpongi-byan at Kemendine, Burma. This is a closer view of another cage, slight[ly] different but just as beautiful as that shown in No. 5 [print 21].'[Printing-out paper, 110x150mm]. 7. Hpongi-byan at Kemendine, Burma. This shows another car with a horseman on a thoro-bred bearing a car containing the Hpongyi's rermains before it had been deposited on to the cage shown in No. 1 [print 17]. The horseman is a royal prince who is being entertained by a princess, while on the journey.'[Printing-out paper, 113x151mm]. 8. Hpongi-byan at Kemendine, Burma. This shows the car borne by the horseman in No. 7 [print 23], on exhibition under a pandal. Note the head Hpongyi on the left with an acolyte on his right. There is an amused and benign expression on his face and it would be worth the proverbial penny to know his thoughts.'[Printing-out paper, 156x113mm]. 9. Hpongi-byan at Kemendine, Burma. This shows another pandal under which the coffin is on exhibition, on a car similar to that borne by the bird in No. 1 [print 17].'[Printing-out paper, 150x111mm]. '[Printing-out paper, 154x113mm]. Commencing from the left are seen the abutment wall and 6 piers completed nearly up to the springing of the arches during the 1927-28 season. In front of the piers are seen the cement concrete blocks measuring 10'x5'x3' laid in a width of 80' & also the dry stone pitching. The whole work was done inside a cofferdam made of steel piles driven to a depth of about 22' below the bed level of the Indus. In the left foreground & on the right are seen the pumps which were worked day and night to keep the cofferdams dry. In the distance are seen cranes, etc, utilised for lifting materials. The cofferdam is of course made in the River & in May 1928 while work was going on inside the cofferdam, water level of the river Indus was nearly 20' above the level of the floor of the cofferdam'. Turban - striped yellow & blue. Uniform - blue. Putties - blue. Boots - black. [?] webbing & satchel on chest. These were an extra (respiration) used during tear gas exercises'. In the distance is seen a Dragline Excavator at work. 46 dragline excavators large and small are employed on excavating the 6211 miles of canals in this scheme. These draglines work 3 shifts of 8 hours each per day. The Rice Canal is one of the five large canals in this scheme'. There are 5 large and 2 small Main Canals in this scheme and the total length of these together with their branches, distributories and minors is 6211 miles. The bed of the canal and the banks are not finally dressed off, hence they look somewhat rough'. This shows the 5 scouring sluice spans of the Barrage on the Right Bank; it was taken in May 1928, just before the cofferdam was opened. View No.2 shows the same thing more clearly and from the downstream side'. This view shows the 7 scouring sluice spans of the Barrage on the left Bank...' The two small class 20- Bucyrus Draglines 'Mahtab' and 'Indra' are seen at a distance and also tube wells Nos. 6 and 7. This is another view of the same canal as is shown in Photograph No.9 [Print 34]. The bed of the canal has not been dressed off smooth. The bed width of the canal (here) is 245' and depth 12 feet'. Connaught Rangers. Poona, 1907'. A couple of 'koomkies' were cleverly worked into the herd and after many failures eventually backed themselves in on either side of him, in this way, he was quickly secured by the heels and fastened to a stout tree stump within the enclosure. In the gallery on the right of the trapdoor is seen the British Resident, the Honourable Stewart Fraser, and next to him His Highness the Maharaja of Mysore. Behind the stout uprights and next to His Highness the Maharaja, are seated Their Royal Highnesses the Prince and Princess of Wales'. This print is in the duplicate album, Photo 430/60. This is very necessary for should the capture contain an ill-tempered tusker, or a refractory cow, serious trouble may be expected'. This print is in the duplicate album, Photo 430/60. The picture shows an obstinate young cow being towed out of the kheddah 'assisted' from behind by one of the 'koomkies''. This print is in the duplicate album, Photo 430/60. This print is in the duplicate album, Photo 430/60. A shrill trumpeting now and again would indicate that a charge had been delivered somewhere along the line, but a volley of blank cartridge accompanied by a terrific yelling generally had the effect of checking it'. This print is in the duplicate album, Photo 430/60. This forms a barrier of flame through which the herd will nor penetrate and therefore cuts off all means of escape'. This print is in the duplicate album, Photo 430/60. The picture shows an enormous rogue elephant which was captured with the herd, but had to be removed before the actual tying-up operations were entered upon, owing to its dangerous character'. This print is in the duplicate album, Photo 430/60. This was evidently meant and taken far more seriously than one would suppose, for an elephant so punished would freely give expression to his feelings by bellowing lustily'. This print is in the duplicate album, Photo 430/60. She proved very intractable and gave a great deal of trouble before she was secured. Their Royal Highnesses were much interested in these operations which they witnessed throughout'. This print is in the duplicate album, Photo 430/60. It is an anxious moment as one can never be certain of what is going to happen'. This print is in the duplicate album, Photo 430/60. It may be noted that elephants generally drink after sunrise and just before sunset. They seldom bathe after the sun is down except in very warm weather'. This print is in the duplicate album, Photo 430/60. The picture gives an excellent idea of the heavy bamboo jungle of these forests'. This print is in the duplicate album, Photo 430/60. It is cleverly disguised with foliage and boughs as the photograph shows. This print is in the duplicate album, Photo 430/60. This print is in the duplicate album, Photo 430/60. His fore and hind feet are secured by stout cables to three 'koomkies' who are in close attendance upon him'. This print is in the duplicate album, Photo 430/60. The picture only shows that portion occupied by Their Royal Highnesses, but some idea of the size and completeness of the camp may be gained from the fact that over 130 tents were pitched and included Post and Telegraph offices, a garage, printing office and a bakery; while a delightful garden with lawns and terraces extending right down to the river made it difficult to realize that one was in the midst of a forest far removed from the habitation of man'. This print is in the duplicate album, Photo 430/60. 17, and at the same time enables one to realize more clearly the great superiority in size of the 'koomkies' over the captured elephants'. This print is in the duplicate album, Photo 430/60. In the centre can be seen a dead elephant. This is none other than the cow which broke away from the herd on the preceding day and gave so much trouble. The excitement of the drive was apparantly more than she could stand, and twenty-four hours after her recapture she died'. This print is in the duplicate album, Photo 430/60. The mass of boughs and foliage which went to make up the disguise of the Kheddah has been trampled down and swept away by the impounded herd in their efforts to find a means of escape'. This print is in the duplicate album, Photo 430/60. This print is in the duplicate album, Photo 430/60. 15, but shows more of the captured herd and its surroundings'. This print is in the duplicate album, Photo 430/60. Probably taken on the occasion when the Prince received the Gaekwar in the Durbar Hall of the Nazar Bagh. Several ceremonial umbrellas are held above the carriage in which the Shan chief is seated. Print unsigned but probably by Crioubansky and Marshall. Prints 376-381 are duplicate copies of the same photograph. Viceroy and Maharaja of Mysore seated in carriage. A dark print. Very poor quality print. This was a small private visit, the Viceroy, Lady Reading and Sir Harcourt Butler being shown round the Palace by the Commissioner Mr Smyth, the Deputy Commissioner Mr Leach and the Superintendent of the Archaeological Survey Mr Duroiselle. This group can be seen approaching the Palace steps. [Gelatin silver print, 120x64mm]. 'I accompanied them with a section of Frontier Constabulary Mounted Infantry in case a 'hot pursuit' led across the border into independent territory.'[Gelatin silver print, 107x60mm.] O'Connor is translating between the Depon Lheding and General Macdonald. The Viceroy Lord Curzon, standing behind the colours, is obscured by the officer in the foreground.[Silver printing-out paper, mounted on card within gilt border, stamped 'Nursoo Dewjee Poopal Photographer. Ahmednagar, India', 296x236mm]. Prints 220-222 join to form a three-part panoramic view of the church service. Prints 220-222 join to form a three-part panoramic view of the church service. [Printing-out paper, blind-stamped 'Lawrie', 293x210mm]. Faded print. [Printing-out paper, blind-stamped 'Lawrie',292x210mm]. Poor quality sapshot. The view shows wooden staging supporting the girder span between two tall brick piers. The sheds can also be seen in print 11. [Gelatin silver print, 130x73mm]. [Gelatin silver print, 205x128mm]. [Gelatin silver print, 195x120mm]. [Printing-out paper, 186x119mm]. Among the Indian rulers seated with British officials are the Begum of Bhopal (veiled) at left, Maharaja Scindia of Gwalior, Maharaja Holkar of Indore (face hidden by binoculars), the Maharaja of Rewa and the Maharaja of Datia.Platinum print. In the central section are seated the Governor of Bombay Lord Northcote and Lady Northcote, with the Maharaja of Kolhapur on the left and the Rao of Cutch on the right. In the left section are Sultan of Shehr and Mokalla and the Thakur of Bhaunagar. In the right section are the Mir of Khairpur, the Nawab of Junagadh and the Rana Sahib of Porbandar.Platinum print. The Khan of Kalat stands talking to a European group in the foreground right of centre.Platinum print. It is not clear whether all the elpehants are from Orchha, but the group at the right certainly is, since one of the animals carries the figure of a gilt dragon on its back. A somewhat indistinct print. [Gelatin silver print, 292x226mm]. With rudder paddle in foreground. Slightly faded print. [Gelatin silver print, 82x133mm]. [Gelatin silver print, 95x74mm]. The bridge may have been swept away by flood water. L.T. Jones is second from the right. Little is visible in this view, which shows horses and soldiers clustered round the main participants. See following prints. This section shows the dam itself at the left and the workers' camp on the riverbank at the right. [150x85mm]. Sanderson: see print 127) checking off names on a list. Another copy of this photograph at Photo 1143/1 (46). C. and Major Ellis; Miss Ellis and Mrs Starr, with Khans in the Mullah's house; The ziarat of the Mullah in Khanki Bazaar; At the ziarat of the Mullah Karborgha, the Mullah's son Abdul Haq; Mrs L.A. Starr in tribal dress; Afridis coming down to meet us. Miss Ellis on stretcher and Mrs Starr riding; Ajib Khan, one of the murderers staying in the Mullah's house; The Kohat Pass, from near the top looking over Kohat; The Khanki Valley below Khanki Bazaar; Lower Khanki Valley ,evening; The C.C. and Major Ellis; Thre Mamozi Jirgah, headed by Subadar Badr-ul-Zamam; Miss Ellis and Mrs Starr; Subadar Azimullah, and the Khans of his clan; the pass below Khanki. 502, 12 July 1879), showing John Burke in the act of photographing the Amir of Afghanistan. Caption on the accompanying manuscript list reads: '[View] from the roof of Alum Bagh House looking towards Lucknow. Grave of General Havelock between two trees in the garden, marked thus X'. Caption on the accompanying manuscript list reads: 'Fort of Jellalabad near Lucknow, occupied by one of our Pickets, the walls are entirely of mud or clay in which round shot had no[?] effect'. Caption on the accompanying manuscript list reads: 'Remains of European Barracks at Cawnpore as they were when the soldiers surrendered to the Nana, 1857'. Caption on the accompanying manuscript list reads: 'The Beebeegurh, or 'Nana's Slaughter House', where the women & children were murdered and their bodies thrown into the well in the garden - view taken from the well - at Cawnpore'. Row of beheaded Chinese pirates lying on the beach, with European group posed for the photographer. Glass copy negative and modern copy print at Photo 527/2 (75). Annotations as with Print 79. Duplicate at Photo 806/3 (12). Annotations below the print identify the following officers: 'Lieutenant Hay, Lt Colonel La Touche, Captain Erskine, Captain Philips, Lieutenant Anderson, Captain & Adjutant Hogg, Doctor Gordon'. Duplicate at Photo 806/3 (11). B. Ijaz Ali walking along a line of police. The following identifications are also supplied: 'Minister's Jemadar holding tray of garlands - Resident's Jemadar looking sheepish - H.B. Ijaz Ali MBE. Minister of Khairpur State.' [Printing-out paper, 196x119mm]. Europeans named as: 'Col Wapshare, Mrs Wilkin, Mrs Wapshare, Col Lister, Mrs Lister, Capt Wilkin'. The date of this event has not been established. See also print 19. H.B. Huddleston standing in left background. Sawlawi was made chief of Eastern Karenni in place of uncle Sawlapaw, who was deposed by the British in early 1889. See also print 11. Viceregal party not visible. The caption note continues: 'His Excellency [Lord Curzon] may be seen (standing) delivering his speech. The building was an immense white structure in the Saracenic style, constructed of wood and plaster, ornamented with tile work and fresco painting. The exhibits consisted of Indian arts and crafts only, a vast collection being brought together, the result of a tour through India by Sir George Watt, to whom the complete success of the Exhibition is due.' A banner in the background reads 'Long Live Sir John Woodburn'. Bate. Photographer uncertain, but Bourne & Shepherd were commissioned to record the event, and it is likely that this and the following prints are from their studio. Bate. The investiture is described in detail in the accompanying newspaper clippings. Presumably at the opening of the exhibition.[Albumen print, 83x80mm]. Probably photographed in Jamkhandi. E. the Viceroy of India'. Duplicate negative only, no print. Probably those of Lord Lawrence or his predecessor, the Earl of Elgin. Pioneers loosened the bricks and [an] Ensign went through the hole they made head first! This so startled the defenders that they fled. He then contrived to open a side door and the whole company rushed in. At the same moment a breach was blown in the far wall and the companies of the 90th who had been beseiged made a sortie. Thus the 90th was reunited in the Moti Mahal and the commanders met in their presence. Whilst in Lucknow the 1st Bn put up a memorial to mark the site of the meeting in the form of a sphinx in white marble'. Duplicate of Photo 454/1 (28). In the foreground water runs from a pipe and the service is probably related to the piping of water from the Pool of Solomon into Jerusalem (see print 4). Print unsigned, but probably by Crioubansky and Marshall. Following figures identified: Sir Douglas Boyd, HE Sir Herbert Emerson, Sir Douglas Young, Sir James Addison. Duplicate at Photo 448/5 (44). Duplicate at Phot 10/27 (178). [Gelatin silver print, 134x86mm]. Possibly photographed at Loikaw. [?Gelatin developing-out paper, 149x104mm]. [?Gelatin developing-out paper, 150x103mm]. [?Gelatin developing-out paper, 150x104mm]. [?Gelatin developing-out paper, 151x103mm]. [?Gelatin developing-out paper, 151x104mm]. Caption on the print reads: 'Poona Regatta'. Slightly unsharp. Lord Curzon alighting from carriage at foot of steps. Guard of Honour drawn up in foreground. Note on negative reads: 'Between Ragha Kot and Wana'. See notes with Print 2. The area is filled with the palace sowari, or mounted attendants, on horses, elephants, camels and various conveyances including a state carriage and bullock carts. To the right the Raja of Khetri is sitting on a high covered platform surrounded by officials and onlookers. [Gelatin silver print, 136x79mm]. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. See notes with Print 2. Taken at time of royal tour? Caption on print reads: 'Firing'. The man addressing the crowd is the Lieutenant-Governor, Sir William Mackworth Young. The picture is dated 4 August in the album, but all other sources agree that the Amban visited Younghusband on the day of his arrival at Lhasa, viz. 3 August. Duplicate at Photo 430/36 (56). Probably photographed in Jamkhandi (compare print 33). Duplicate at Photo 59/6 (9). Section of a two-part panoramic view, in a series taken by Simpson and marketed by Bourne & Shepherd.[Albumen print, signed 'B. Simpson 65' in the negative, 281x206mm]. [?Gelatin developing-out paper, 146x195mm]. Lady Curzon and Captain Wigram to the right. See notes with Print 1. See notes with Print 1. [Silver printing-out paper, 242x187mm]. The following individuals are identified: 'Captain Innes, Margaret, B.J. Glancy, HE the Maharaja, Captain Alexander, Mr Cunningham, Lady Glancy, Sir Reginald Glancy, Mrs B.J. Glancy, Colonal Thorburn, Self'. Herbert, Devi Singh, Raja Khandela, Miss Macgregor, Indur Singh, Lady Jacob, Dhalip Singh, Partab Singh, Mahtab Singh, Nar Singh, Lachman Singh, Bhoor Singh, Jowahir Singh'. [Gelatin silver print, 140x80mm]. Platinum print. Prints 104-105 join to form a two-part panorama.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001. Prints 104-105 join to form a two-part panorama. With the houses of the camp at Periyar on the hillside beyond. In the left foreground two Indian photographers are setting up their equipment. Unidentified occasion. Randall Parr was Chinese Customs Commissioner at Yatung. [Gelatin silver print, 140x80mm]. This appears to be the photograph listed in the Baker & Burke catalogue as 'Lord Mayo and Party returning from Kohat, taken in Kohat Pass at a Khore'. For other copies, see Photo 752/12 (27) and Mss Eur F197/37 (43).[Albumen print]. Duplicate at Photo 556/3 (50). [Gelatin silver print, 140x80mm]. [Gelatin silver print, 140x80mm]. The ruler and guests are sitting in front of a studio backdrop. Blurred. Poor quality print. Caption on the print reads: 'Dummy on Bluff'. Military parade at an unidentified location. Field-Marshal Sir William Riddell Birdwood, 1st Baron Birdwood, was Commander-in-Chief of the Army in India, 1925-30. Right-hand section of two-part panoramic view comprising negatives 6 and 8. Group viewing the hounds includes: 'Self [Wilberforce-Bell], Lady Glancy, Mrs Glancy, Margaret, Sir Reginald Glancy, Colonel Harvey, Captain Ambler'. Viceregal party watching a line of horses walk past. The following are identified: ' B.J. Glancy, Cunningham, Egerton, Self, Ambler, Sir Reginald Glancy, Alexander, Lord Irwin, Harvey & the Nawab'. Official group seated on a platform at the back of a hall before an audience of state officials. Full-length standing group portrait, in uniform, all named: 'Mr Griffin (Secretary), Mr Harris (Personal Assistant), Self [Wilberforce-Bell], R.B. Dewan Gyan Nath (PCR, Nabha)'. Distant view of the guests of honour . The Wilberforce-Bells leaving their car. Large tear in sky portion of print. This is 'No 107' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). This is 'No 108' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). This is 'No 121' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Poorish condition, with somes tears.[Silver printing-out paper, 280x214mm]. A dark print showing the boats passing the palace, with spectators in small boats and on shore.[Silver printing-out paper, 288x203mm]. [Silver printing-out paper, 284x205mm]. [Silver printing-out paper, 272x199mm]. [Silver printing-out paper, 200x148mm]. Viceregal party after leaving the official Jaora State cars. The following individuals are named: 'Margaret, Gordon-Duff, Thorburn, Self & Lady Glancy'. Viceregal party leaving official Jaora State cars. 'Sir Reginald Glancy & Self [Wilberforce-Bell]' are identified. The following individuals are named: 'Colonel Harvey, B.J. Glancy, Lord Irwin, Sir Reginald Glancy, Mrs B.J. Glancy, Self [Wilberforce-Bell], Colonel Thorburn, Margaret, Lady Glancy, the Nawab of Jaora, the Nawab of Wai, G. Cunningham, Mrs Ambler, Captain Ambler, Captain Alexander, Mr Reive, Captain Gordon-Duff, Captain Innes, Mr Egerton'. The Wilberforce-Bells and the Pant Sachiv of Bhor seated at a table at the back of the hall. Formal group portrait includes the following named individuals: 'B.J. Glancy, Margaret [Wilberforce-Bell], Sir Reginald Glancy [Agent to the Governor-General, Central India], C.O. Harvey [Major-General Sir Charles Offley Harvey, Military Secretary to the Viceroy], Lord Irwin, the Maharaja of Dhar [Udaji Rao Ponwart], H. Thorburn [Colonel Harold Hay Thorburn, Viceroy's Surgeon], Self [Wilberforce-Bell], Sarah Halsey, G. Cunningham' and various state officials. Photographer's ink stamp on verso. Inscription on the plaque reads: 'In Memorium. On this spot stood the house of massacre. July 15 1857'. Inscription reads: 'Sacred to the memory of the women and children of the late ill fated 1st Comp 6th Battalion Bengal Artillery who were slaughtered near this spot by Mutineers on the 18th July 1857'. Inscription reads: 'In memory of the women and children of HM 32nd Regt who were slaughtered near this spot, 16th July AD 1857. This memorial was raised by 20 men of the same Regt who were passing through Cawnpore, Nov 21st 1857'. Detail of the inscription which reads: 'Robert Bensley Thornhill, Judge of Futegarh, Mary his wife and their two children. Killed July XV, MDCCCLVII'. Inscription reads: 'Sacred to the memory of Howard Douglas Campbell, Captain in the 78th Highlanders, who died at Cawnpore of cholera on the 18th of August 1857. Deeply regretted by his brother officers who have erected this tablet'. Inscription reads: 'Sacred to the memory of Sergeant J. Kelly, H. Donaughey, Corporal J. Lankham, W. Smith, Private J. Gee of the Band, HM 64th Regiment, who died at Cawnpore between the months of September and November 1857. Deeply regretted by their comrades who have erected this stone. Also of B. Fitzpatrick & D. Muir who fell at the action of Cawnpore on 28th Nov 1857'. Notice above platform reads: 'Jamal's Staff greet War Loan Special'.Note on the reverse reads: 'It is here where [illegible] Bros have their [illegible] Soda Factory. We carry large quantities of soap for them. They expect to commence manufacture of paper in a few months - [phrase undeciphered]. There was a big crowd on platform'. Note on reverse reads: 'Burma's War Loan Special Train. Tatkon a small wayside station. Only about a quarter of those who were on the platform come into this photograph. All photos of crowds had to be taken from roof of carriages as crowds so dense could not fit a photo otherwise'. Note on reverse reads: 'Pyawbwe - Another view showing a few of the crowd'. Note on reverse reads: 'Pyawbwe. One only sees about quarter of the crowd there was on platform here. We had allowed for a comparatively short halt at this station. We were delayed several hours, hard at work the whole time'. Note on reverse reads: 'Myitnge - Where our C & E shops are. We stayed here seven hours & did a big sale'. Note on reverse reads: 'Shwebo - the offisde of the train. The platform was overcrowded'. Enclosed by General Neill.' Second copy neg at B.1918. Platinum print. See note at print 116. [Gelatin silver print (modern print), 194x104mm]. Not British Library copyright. [Gelatin silver print, 123x58mm]. Poor quality print. Poor quality print. Handwritten note on reverse of print reads: 'A rescue party from R.A.F. Vizagapatam, setting out to a village where survivors from a crashed plane in the Bay of Bengal, came ashore near Vizagapatam. Palm leaves are being used to fill in a flooded patch on the cross-country journey. Date 1943.' Names from left to right: The Hon'ble Mr E.R. Abbott, CIE; H.E. The Countess of Reading; The Hon'ble Sir Henry Moncrieff-Smith and Major Gen. Sir Charles MacWatt. Other prints from the same event are in Photo 10/26. From this print and duplicates the following sitters can be named: Indian officials Sirdar of Kulsea (?); Nawab of Mulier Kotal; Raja of Kapurthala; Raja of Nabha; Maharaja of Patiala. Afghan officials Amir Sher Ali Khan; the Chamberlain of the Amir; Abdullah Jan, son of the Amir. British officials Sir Thomas Douglas Forsyth, General Reynell Taylor, Dr Bellew, Major Upperton, Colonel Crawford Chamberlain, Edward Burke, Sir Owen Burne, Colonel Seymour Blane, Lord Mayo; Walter Seton-Karr, secretary; General Beatson; Lord Napier of Magdala; Sir Donald McLeod; Sir William Rose Mansfield; Sir Henry Durand; Sir Richard Temple; Mr Barrow Ellis. [Gelatin silver prints]. [Gelatin silver prints, various sizes]. The walls of the Red Fort can be seen in the background. Original glass negative, no print. Other figures identified are Jimmy and Helen Doak, Spitteler, Marshal family. Faded print. Schram. [Gelatin silver print, 141x92mm]. Sir Henry Dobbs is in the centre of the group.[Gelatin silver print, 135x78mm]. Lady Curzon is seated in the centre of the group. Servants and tents in background. Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. The following figures are identified: (front row, on ground): (?Little) Fergusson, Colonel Coxe, Colonel Godby, Ella McAndrew, young Fergusson;(seated): Mrs Fergusson, Mrs J. McAndrew, John [Younghusband], Clara [Younghusband], Mrs Coxe, Mrs (?)Pilhugh, Mrs Godby, Mr Fergusson, Mrs Tytler, Colonel Tytler; (standing, back row): Miss Scott, General Taylor, Mrs Johnston, Colonel McAndrew, Mr Beachcroft, Mrs Beachcroft, Mrs J. McAndrew. A further note in the margin reads: 'Col. Tytler at this time commanded the Goorkhas quartered at Dalhousie. He commanded a brigade in the early part of the Afghan Campaign 1878. George [Younghusband] then in the 17th Regt was in Genl. Tytler's Brigade.Genl. Tytler died from effects of exposure in the Kurum Valley 1879 [sic for 1880]'.[Albumen print, 271x197mm]. From left: 'Col E.H. Fenn, Sir W. Lawrence, Wutzler (Chef), Col Pears, Col Gordon, Col E. Baring'. Named as: 'Souter, Mrs Herbert, Pottinger, Miss Macgregor, Miss Mackinnon, Miss O. Herbert, Willcocks'. (Sir) Robert Henry Davies (1824-1902), Lieutenant-Governor of the Punjab 1871-77, is seated in the centre of the group. Thomas Henry Thornton (b. 1832), ICS, is seated second from right. The following individuals are identified: 'Colonel Thorburn, Margaret [Lady Wilberforce-Bell], Mr Cunningham, Mr B.J. Glancy [Sir Bertram James Glancy], Lady Glancy, Lord Irwin, the Maharaja of Ratlam, Sir Reginald Glancy, Mrs B.J. Glancy, Colonal Harvey, Self [Wilberforce-Bell], Mr Egerton'. Photograph possibly taken on the same occasion as prints 1-3.[Printing-out paper, 212x149mm]. Sackler Gallery, Washington, December 2000 to March 2001. This is Print 12 in the published catalogue of Beato's China views, and is there titled 'Angle of North Fort at which the French entered, Aug. 21, 1860.' [Gelatin silver print, 140x80mm]. [Silver printing-out paper, 140x79mm]. [Silver printing-out paper, 141x82mm]. Distant view of a cricket match in progress. William John Ottley was the author of 'With Mounted Infantry in Tibet' (1906). An annotation on the mount reads: 'First portion opened 15th July 1861', presumably a reference to the Great Southern of India Railway. This print also appears as plate 51 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Kirghiz Felt (Akoe) occupied by officers of the mission at Yangi Hissar.' This print also appears as plate 6 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Tartar women at Nimmoo in Ladak, September 1873.' Presumably photographed at the time of the Chinese invasion of Tibet. Caption not fully legible, location unidentified. Faded print. P. Skrine, Mir Ahmad Yar (Heir Apparent), K.B. Gul Muhammad Khan (Wazir i Azam), two of the Viceroy's ADCs.[Gelatin silver print, numbered '31 BS' in the negative, 211x147mm]. Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Poor quality image.[?Gelatin developing-out paper, oval image, 92x118mm]. Probably by W.H. Skeen & Co. The state is unidentified. Negative in poor condition. Negative only, no print. British officers, including the Political Agent J.P. Nixon, are seated at the left of the main group. For another copy of this print, with identifications and additional notes, see Mss Eur F197/37 (46). Duplicate at Photo 1/8 (3). Lady Dufferin sits on the Viceroy's left, with Dufferin's Private Secretary Sir Donald Mackenzie Wallace seated to her left; Lady Helen Blackwood, the Dufferins' daughter, is seated at the left of the group, holding a small pet monkey; beside her sits Lord William Beresford (holding the monkey's tail). Dufferin's ADC Lord Herbrand Russell (afterwards 11th Duke of Bedford), stands immediately behind the Viceroy, wearing a white suit. Major Harry Cooper stands fourth from left. The figure to the left of Lord Dufferin is Lord William Beresford. S.V.; The Khan of Kalat; Lord Willingdon; Lady Willingdon; A.N.L. Cater; Mr Merville, P.S.V.; (back row, left to right); Captain Budgen, A.D.C.; Lieutenant Dickson, Royal Scotts; Captain H. Bland; unidentified; Capain Macdonald, R.A.F., A.D.C.; Mr H. Weightman; Captain O. St John; Captain Clive, A.D.C.[Sepia-toned print, 291x214mm]. Duplicate, in larger format, at Photo 1/4 (2). Figures identified beneath print as follows: Major Hobbs, Mr Dundas, Maharaja of Tikari, Maj Drew-Wilkinson, Dewan Gyan Nath of Nabha, Mrs Hear, Yuvraj of Jind, Maharaja of Jind, Margaret Wilberforce-Bell, Mrs Hobbs, Malik Umar Hyat Khan Tiwana, Harold Wilberforce-Bell, Bhai Sahib of Bagrian. Duplicate at Photo 1/8 (11). Some figures identified beneath print, as follows: Mr Nanji, Mr Achhratlal, Mr Feshwantrai, Mr Gosabia, Mr Ichhanankur [?], Mr Benjamin, Mr Kanji, Mr Lakhshanka, Mr Vajashankar. Lord Connemara, Governor of Madras, is seated in the centre. A ceremonial wheelbarrow and spade stands in front of the group and a banner reading 'Success to Tiruvalur-Mutupett Railway' hangs above. Photograph presumably taken at Tiruvalur (Thiruvarur). Figures identified beneath print as follows: Lala Garditta Mul [?], Lala Parbat Chand, Mian Narayan Singh, Lala Bhagwan Das, Dr Robertson, Mian Kesri Singh, Mr Pandit, Mian Nehur [?] Singh, HH the Raja of Chamba, Mr Miller, Rai Bahadur, Lala Madhu Ram, Lala Mahant Pal, Lala Garditta Mur, Lala Raghunda Das. [Several transcriptions uncertain].The Raja's son Lakshman Singh is seated in front of his father. Other identified figures are: Colonel Wood, Major Gordon, Mr Bibra and R.S. Vajabha [?]. Second copy neg at B.19968. Napier, who was Commander-in-Chief in India at this period, was probably visiting Hyderabad on one of his regular military tours of inspection. He is seated in the centre of the group with his arm around the eight year old Nizam Mahbub Ali Khan, who had succeeded as a minor in 1869. Members of the Council of Regency and others are seated in the front row. Identified figures in the group are: Shumsheer Jung (first on left), Sir Asman Jah (third from left), Shams-ul-Umara (fourth from left), Sir Salar Jang (on Napier's left), C.B. Saunders, British Resident (third from right), Sir Khurshad Jah (second from right) and Nizam Yar Jang (standing behind Napier). A general view of the location of this print can be seen at print 23. Sir James Scott can be identified in the centre of the group. The gathering is described in Scott's annual report: 'The durbars of the year were the most representative that yet have been held. At Mong Nai on the 6th May there were only two absentees, the chiefs of Thaton and Kyethi Bansan, both of whom were seriously unwell. At Fort Stedman on the 22nd of the same month [see print 17] all attended but the aged Sawbwa of Mong Pai and the Ngwegunhmus of Pinhmi and Loi-e, both unwell. Each Chief brought with him a considerable body of retainers, and the interchange of ideas, the sight of Chiefs who had previously been only a name to the majority, the formation of friendships, and the subsequent exchanging of visits on the way home formed a regular education not merely to the following, but to the Chiefs themselves. The open discussion of matters of general economy and practice was so new to them that it was impossible at a first meeting to come to any definite conclusions. When, however, the Chiefs realized that the matters treated of were for their own benefit, suggestions flowed in and the system, so different from that to which they were accustomed to in Burmese times, met with unanimous approval. In this way arrangements were made for the registration and marking of guns, so that it might be impossible for Shan speculators to sell them to Burman dacoits. All tolls on caravans also were declared abolished, a measure which cannot fail to be a great furtherance to trade and also a general benefit to the population. The establishment of a fixed rate for bullock carriage was another question settled. Such a fixed rate has long been required, but it was impossible to arrive at any definite conclusion except at a meeting of the Chiefs such as these durbars afforded.' ('Report on the Administration of the Shan States for the year 1888-89', p. 23, IOR/V/10/531).Scott's account in his diary is difficult to read, but does indicate that Muntz took this view: 'All morning arranging speech, etc. Barnard in early to get Sawbwas up in time. Started at two [?]over an hour riding in. Sawbwas late. The guard of honour therefore was rather lost. Gathered about four, all but the [illegible]...Got home after dark. Tonnochy who had used my camera spoilt both durbar views. Muntz got one fairly good one outside...Think the durbar was a success.' (Diary for Feb-Dec 1889, pp. 27-28, Mss Eur F278/4). Duplicate at Photo 92/5 (35). See also other prints of the event in this album and at Photo 92/10 (91).[Albumen print, 206x145mm]. Bell is seated centre, with Maharaja of Sikkim on right and Dowager Maharani on left. No other figures are identified, although the woman seated on the left is presumably Bell's wife. Copy negs. B.22561 and B.22562 are details, not complete photograph. Lord and Lady Curzon seated at centre. The Earl of Suffolk and Captain R.G.T. Baker-Carr (ADCs) are seated on the ground in front; Captain C. Wigram (ADC) stands second from left, Captain the Hon. J.R.L. Yarde-Buller (ADC) stands 6th from left. Lieut-Col Everard Baring, the Viceroy's Military Secretary, stands 4th from right (wearing hat). Lieut-Col E.H. Fenn, the Viceroy's Surgeon, stands 3rd from left. The four central figures are Lord and Lady Dufferin and the Duke and Duchess of Connaught. Lord Roberts of Kandahar (Commander-in-Chief, Madras), is seated on Lady Dufferin's left. Sir Donald Martin Stewart (Commander-in-Chief, Bengal) is seated at the left of the group, Sir Arthur Edward Hardinge (Commander-in-Chief, Bombay) is between Lady Connaught and the Viceroy. H. the Raja of Chamba, Miss Herbert, Harold Wilberforce-Bell, Mrs Robertson. [Several transcriptions uncertain]. H. Hodgson, Mian Kesri Singh, Dr Robertson (and baby Norman), Miss Southward, Rai Bahadur Lala Madho Ram. Duplicate at Photo 1/8/ (4). [Gelatin silver print, 245x293mm]. Caption notes supply the following identifications: 'The first three figures sitting to Her Highness the Maharanai's right are the Maharaja's younger brother, Col. the Hon'ble Donald Robertson, Resident of Mysore, and Col. J.A. Campbell, Private Secretary to H.H. the Maharani-Regent. Standing behind these figures beside the column is Mr Kantaraj Arasu, Assistant Private Secretary to H.H. the Maharani-Regent. Next to him is Mr Dobbs, I.C.S., Assistant Resident of Mysore. The fourth figure is Major Jones, Military Secretary. Sitting to the left front of the Maharaja , the first three figures are: Mr Laksmikanti Arasu, now married to the third princess, Sir K. Sheshadri Iyer, B.A., B.L., K.C.S.I., Dewan of Mysore, and His Highness the Maharawal of Bansda. The first figure standing outside the column is Lieut-Col. Desaraj Arasu, Commanding Mysore Troops.'For a similar view, taken on the same occasion, see Mss Eur G38/1 (4w). Sitters identified beneath the print are as follows: John [Younghusband]; Colonel Holled Wallace Henry Coxe; General Reynell George Taylor; Raja of Chamba, with '4 little ADCs behind him'; Colonel McAndrew; 'Cashmiree envoy bringing presents to the young Raja; Francis Porten Beachcroft, Assistant Commissioner; Colonel Christopher James Godby; Captain Newbolt. The notes also describe 'Guddees in their hill costume. In their pugrees are stuck aigrettes set in silver made of manaul pheasants' feathers' and 'the ladies were behind a pink muslin awning, Mrs Coxe and Clara peeping through.' For another copy of this print, see Photo 355/1 (80).[Albumen print, 272x184mm]. Probably photographed somewhere in the Durbar camp. [?Gelatin developing-out paper, 277x228mm]. The exact nature of the Jangli Akhara isn't clear, but it appears to be a local festival or fair. [Gelatin silver prints, approximately 150x110mm]. [Printing-out paper, 75x100mm]. Same viewpoint as prints 6-7, with guard of honour at left. The following individuals are named: 'Lady Pattani, Nawab of Sachin, self, the Nawab of Janjira, Margaret, Sir Prabhashankar Pattani, R.B.Kotak, Mr Norman Ramsay'. Colonel Hogge and Younghusband stand in the background. See also Photo 430/78 (83). Duplicate of Photo 10/19 (49). The Prince is partially obscured by the Viceroy whose back is to camera. Duplicate of Photo 10/19 (29). Duplicate at Photo 1/20 (131). This is in a group of 11 prints under the heading, 'Review of State Troops'. This is a duplicate of Print 126 and Photo 1/17 (1). This is a duplicate of Print 127 and Photo 1/17 (1). Beato's studio was in 'C' Road in the block at the right of the print (see Photo 513/4 (45)). Duplicate at Photo 296/1 (59). ..By the beginning of January, 1904, weight was available from No 7, and the well was then loaded with rails and pig-iron weighing 740 tons, and dredging was restarted on the 21st January'. ..The teak trestles were 53 feet high, and weighed 28 tons each...'. A sand-bag coffer-dam was used in such cases, the sand-bags being laid upon the sides of a shallow excavation round the well...'. With following figures identified beneath print: Mackenzie, Noble, Harold Wilberforce-Bell, Gooch, Kerr, Tandy, Griffin. The church is in the centre, with Keyes' house to the right. In the left background is what appears to be a fives court.[Albumen print, 274x183mm]. [Gelatin silver print, 291x167mm]. Sir James Willcocks visiting front-line Indian troops. [Gelatin silver print, 140x80mm]. Duplicate at Photo 430/3 (35). Second copy neg at B.7531. [Gelatin silver print, 140x80mm]. [Gelatin silver print, 140x80mm]. [Gelatin silver print, 209x159mm]. For a closer view of the occasion, see part 283 (275). [Printing-out paper, 150x112mm]. See print 10 for an earlier view of construction and print 26 for a good view of the completed structure. No. 87 in Burke catalogue of Afghan War views. Actual location uncertain although another view of the works is at Photo 472/7 (9) where it appears with Tatanagar views. See notes with Print 1. The 'Left Training-bund' was a sandbank constructed to guide the river through the bridge. Gales writes (see notes in Introduction): 'Little progress was made until the beginning of December, when there were 1,000 coolies on the earthwork of the bund, but just before the Christmas holidays there were 7,000 on the training-bund and approach-bank...by the end of January the left training-bund, with the exception of the last seven chains, was finished...'. The Curzon Bridge occupied half the width of the Ganga river, the remaining half being filled in by a sandbank known as the 'Left Approach-bank'. This is Print 38 in the published catalogue of Beato's China views, and is there titled, 'Sacred Temple of Heaven, where the Emperor sacrifices once a year in the Chinese city, Pekin, October, 1860.' This is Print 22 in the published catalogue of Beato's China views, and is there titled, 'Anting Gate of Pekin after the surrender, 13th October, 1860. - English and French troops taking possession.' No soldiers are actually visible in this photograph. This appears to be an earlier photograph than print 88, and shows the floor still littered with rubble. Severe damage was done to the railway line between Pondicherry and Villupuram in the most severe flooding seen in the area up to that time. The scene of this and the following views is where the line crosses the Gingee River a few miles west of Pondicherry. This print also appears as plate 9 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'The Indus Valley from Leh, Eln. 11500 feet, view from Joint Commissioner's Garden.' The ceremonial barge can be seen on the further bank. Duplicate at Photo 10/27 (252). Handwritten caption with print reads: 'Gate of the Town of Suakin. The large building seen through the gateway was a caravanserai and was occupied by our Commissariat in 1885.' Another copy at Photo 190/2(26).[Printing-out paper, 204x136mm]. The Duke of Cambridge is not individually identifiable. This is Print 30 in the published catalogue of Beato's China views, and is there titled, 'Imperial Winter Palace, Pekin, 29th October, 1860.' The brick piers are in place, with the steel girder spans beside them, about to be raised into position. Photograph enclosed with Agent's letter 456 of 23 April 1906. H. Roden in the centre. Poor quality print. Caption on negative reads: 'R.S.N.G.'s steamer ""Mysore"". W.A. Elder Commander'. An account of the officers and their uniforms is given by W.H.A. Rich in an accompanying manuscript. Presumably at Simtang (see print 19). Duplicate at Photo 114 (25). The photograph appears to show the same structure also seen in the following two prints. A dark print.[Gelatin silver print, 140x80mm]. Presumably one of the events connected with the opening of the Sirhind Canal. Duplicate at Photo 481/2 (13). Duplicate at Photo 481/2 (15). Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 267, there titled, 'Camp at Nushki.' Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 272. Typescript notes read: 'Our tent is the distant one and the river just below us on the right'. Typescript notes read: 'River out of sight to the left. You can see all the dock leaves in this picture'. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 365, there titled, 'Camping at a Persian village, January 20th, 1901.' This is probably a pass in the Khwaja Amran mountains on the Balochistan-Afghanistan border. Duplicate at Photo 114 (24). [Gelatin silver print, 128x71mm]. [Gelatin silver print, 175x74mm]. Among those present are Sir Jagdish Prasad, Gilbert Laithwaite, Colonel Elliot and Captain Noble.[Gelatin silver print, 187x132mm]. Modern copy print. The original caption mistakenly describes this event as the 'Coronation F�te' which took place in 1911 (see Prints 59-66). Some individuals are named below: 'Dr Daljang Singh; T. Bhoor Singh, Santha; T. Rup Singh, Naila; T. Bhoor Singh, Malsisar; Margaret; Col Benn; Major Cole; T. Chomoo; T. Atchraol'. [Gelatin silver print, 201x109mm]. [Gelatin silver print, 204x138mm]. [Gelatin silver print, 205x142mm]. Scott can just be identified in the centre of the group. Duplicate at Photo 92/11 (1), which see for a note on the event and photographer. Portion of print missing at bottom right corner. Print unsigned but probably by Crioubansky and Marshall. [Albumen print, 316x191mm, on card mount stamped 'Bourne & Shepherd India']. [?Gelatin developing-out paper, 149x104mm]. Murray's 'Handbook for Travellers in India and Ceylon' (1901 edn.) described Kahuta, 10 miles from Punch, as 'a cluster of huts up the Bitarh valley, commanding a magnificent view of the surrounding mountains'.[?Gelatin developing-out paper, 277x227mm]. [Printing-out paper, 191x131mm]. [Printing-out paper, 190x121mm]. Negative only, no print. [Gelatin silver print, 257x235mm]. [Gelatin silver print, 288x186mm]. [Gelatin silver print, 105x72mm]. In the foreground sits a British soldier with two Afghans and beyond them is a dhoolie or covered stretcher. Possibly taken at the time of the British occupation of the city during the Second Afghan War, 1879-80. A slightly more distant view, showing more of the crowd in front of the building, and taken from the right. See notes with Print 1. See notes with Print 1. See notes with Print 2. See notes with Print 2. See notes with Print 2. Lamayuru is 45 miles west-north-west of Leh. A somewhat faded print. [158x70mm]. [152x102mm]. [154x103mm]. Faded print.[Silver printing-out paper, 140x82mm]. This is Print 54 in the published catalogue of Beato's China views, and there titled, 'Bridge of Pa-lu-chian, the scene of the fight with Imperial Chinese Troops near Pekin, September 21st, 1860.' Probably photographed inside Chinese territory. Similar view at Photo 92/3 (46). This photograph is also reproduced in woodburytype in J. Talboys Wheeler, The history of the Imperial Assemblage at Delhi (London, [1877]), facing p.122. Caption note is similar to print 9.[Printing-out paper, 155x113mm]. Contemporary notes on the mount beneath the print identify the amphitheatre for Europeans (at left), Lord Lytton's canopy (centre: the Viceroy can just be made out seated beneath the canopy), and the amphitheatre for native princes (right). An effusive and facetious poem in manuscript on the reverse of the mount celebrates the durbar at which Lord Lytton proclaimed Queen Victoria's new status as Empress of India ('Be an Empress! was 'Dizzy's'/advice to his Missus...'). For fuller details, see J. Talboys Wheeler, 'The history of the Imperial Assemblage at Delhi' (London, [1877]). Second copy neg at B.22356. For a similar view, taken on the same occasion, see Photo 430/80 (15). The nearest group of men can be seen singing through megaphones: 'The choir of 520 male voices on the artificial mound was situated at a distance of over 300 yards from the main body of worshippers; and Captain Sanford, who conducted the music, and had arranged the chants for the musical bands, had ventured on the daring but entirely successful experiment of making the men sing through megaphones, thereby attaining the intensity of 5000 voices...' (Wheeler, 1904, p. 145). Print stamped 'Enclo. No. 7 to Agent's Finance Letter No. 469 23.7.06'. [Gelatin silver print, 206x123mm]. Shown at a later stage of construction, with girders in place linking the piers. Print dated on reverse. Photograph enclosed with Agent's letter 456 of 23 April 1906. [Woodburytype, 180x131mm]. Reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.142, captioned 'The Camp just outside Kengtung where the affray over the Panthay muleteers happened'. See Mitton, op. cit., pp.143-7 for an acoount of the incident. The Lieutenant-Governor and staff are posed in the middle of the camp behind a makeshift tennis court. Elephants and camels are in the background. Better quality print at Photo 355/3 (20). [145x64mm]. [Silver printing-out paper, 202x147mm]. Duplicate at Photo 556/3 (55). [Printing-out paper, 154x113mm]. [Printing-out paper, 156x105mm]. [Woodburytype, 186x121mm]. Artillery pieces in foreground. [Albumen print, 315x191mm, on card mount stamped 'Bourne & Shepherd India']. Negative only, no print. 1 Visitors' camp. 'In common with every structure erected at Delhi by the Viceroy's orders for the ceremonials of the fortnight, [it] was designed in careful accordance with the canons of Indo-Saracenic architecture' (Wheeler, 1904, p. 89). Platinum print. [Albumen print, 214x161mm]. Caption beneath print reads: 'Harbour of Suakin with a transport at anchor & the town seen beyond'. [Gelatin silver print, 135x87mm]. [Albumen print, 207x160mm]. This is Print 21 in the published catalogue of Beato's China views, and there titled, 'Tung-Chow Pagoda, 23rd September, 1860.' Probably by Molteno. 'Among the great destruction of property in the city of Victoria, the loss of the Roman Catholic Church of S. Joseph had unfortunate prominence. A portion of the entrance and the southern end alone were left standing; all the other parts being piled into a heap of rubbish. The storm seemed to have raged with peculiar violence about this neighbourhood; most of the beautiful trees which had shaded and embellished the road leading to the church being uprooted.' [Albumen print, 224x169mm]. Second copy neg at B.594. Size 480 (w) x 350 (h) mm. Wheeler (1904, p. 50) states that the building was designed by Curzon himself. A somewhat faded print. Very poor quality print.[?Gelatin developing-out paper, 152x103mm]. Print reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.252, and captioned 'Camp at Nam Palo near Na Fan. Here the party stopped for the night of Easter Sunday (1897) after having been 'shot at all the way' for days'. This print links up with Photo 92/2 (19) to form a panoramic view of the village and camp. Caption note reads in full: 'This is the Town Hall (where the Municipal Office is located), Rangoon, dressed for the Corononation of King Edward VII, on January 1st 1903 - this is where the Proclamation was read.'[Printing-out paper, 152x113mm]. The caption note reads in full: '1st view or face. This arch represents the British Empire, with pictures of our Gracious Sovereign and His Consort on either flank. It was erected by Mogre community at the junction of Merchant Street and Soolay Pagoda Road (looking towards the river) on January 1st 1903, in honor of the celebration of the coronation of King Edward VII.'[Printing-out paper, 155x110mm]. Caption notes reads in full: 'This is an arch, erected by the Chinese community, on Merchant Street, Rangoon, on January 1st 1903, in honour of the coronation of King Edward VII. It was one of the most beautiful arches and must have cost thousands of rupees. The pictures on either side are those [of] two Chinese Municipal Commissioners.'[Printing-out paper, 155x115mm]. The Flagstaff Tower is also visible on the horizon. [Albumen print, 310x184mm, on card mount stamped 'Bourne & Shepherd India']. Caption note reads in full: 'This is an arch representing Africa, erected for the coronation of King Edward VII, on Merchant Street, Rangoon, on 1st January 1903. The spectator is looking east. Lords Roberts and Kitchener don't need to be pointed out.'[Printing-out paper, 153x110mm]. [78x134mm]. Prints 125-127 are the only photographs in this series in which the location is identified. It has been assumed that all the photographs relate to the same area and events. An insignificant action took place here: 'Mounted Infantry on reconnaissance discovered about 300 Tibetans at Samuda, 13 miles beyond Kalapangko, who opened fire. No casualties.' (Telegram from Viceroy to Secretary of State for India, 8 April 1904, in Further papers relating to Tibet, Command 2054 of 1904.). A telegram the following day stated that six Tibetans were killed and three wounded. [Gelatin silver print (modern print), 108x74mm]. The catalogue description for this photograph is as follows: 'Capture of Sampagha Pass, view of operations from 1st Artillery position at 10-30 a.m.' This is Print 43 in the published catalogue of Beato's China views, and there titled, 'View of the Summer Palace, Yuen-Ming-Yuen, showing the Pagoda before the burning, October, 1860.' He was in charge of the Viceroy's dispensary during the tour. The caption note reads in full: 'This is Queen Victoria's statue in Fytche's Square (which is bounded by Dalhousie Street on the north, Merchant Street on the south, Barr Street on the east and Soolay Pagoda Road on the west), Rangoon, decorated for the Coronation Celebrations of King Edward VII, on January 1st 1903.'[Printing-out paper, 155x112mm]. A handwritten note on the brown paper wrapping in which the negative is contained reads (punctuation amended): 'Fearful outcry, Exeter Hall up in arms. Brutality of British officer, questions in Parliament. This took place in 1886/87 during 3rd Burmah War. Willoughby Hooper, my 2nd cousin, was a most humane man but a keen photographer, especially instantaneous photography. He was Provost Marshal on the staff and assistant P.M. at the execution. W. Hooper was present in mufti together with many other Burmans as a looker on. His asst. P.M. carried out the execution. W. Hooper took no part in it. A disgruntled newspaper correspondent who had fallen foul of the General & was under orders to return to Rangoon from Mandalay determined to get his knife into someone & wrote home to his paper The Times an entirely false version elleging that W. Hooper had delayed the execution to focus his camera. A court of enquiry was ordered as a result of outcry in England. W. Hooper was acquitted, but court added it would have been in better taste not to have photographed the scene. Still, howl went on in England & to appease the many, W. Hooper had to hand in his papers, this the agitators in England regarded as having disgraced W.H. As a matter of fact he had an interview with the Viceroy of India who said he had to be made a victim of, but although only a Lt. Col. he would be granted a full Colonel's pension & be eligible for 'off-reckonings'. Result was that W.H. returned as young man & a few years later got off-reckonings which gave him a pension of �1100 a year, so he did not suffer as his traducer would have wished. I think the newspaper man was named Condor or Curry, he was Irish, or Condon [in fact Edward Kyran Moylan] - I saw his grave in Rangoon Cemetery in 1904. C.W.R. Hooper, March 30th 1939.' For a more detailed account of the affair, see John Falconer, 'Willoughby Wallace Hooper: 'A craze about photography'' (The photographic collector, vol.4, No.3, Winter 1983, pp.258-86). L. Corfield and group. [Gelatin silver print, 106x72mm]. [Gelatin silver print, 285x123mm]. Named from left: 'Self [Captain Portal]; HE; Her Ex; Raja; Hobbs; Bootle'. [Gelatin silver prints]. 1876) in foreground. Original glass negative (damaged), no print. Bootle, Captain Portal, Lieut Plowden, Mrs Balfour, Cicely Goschen, Cecil D. Rae, Lord and Lady Goschen and Major H.A. Hilderbrand. The winning trainer is T. Melsom. Duplicate at Photo 1/20 (34). Photo-etching from the General report on the operations of the Survey of India...1896-97. J. Glancy; George Cunningham; Mrs Ambler. (Standing): Captain Ambler; Captain Alexander; Captain Gordon-Duff; Captain Innes; Mr Egerton. Duplicate at Photo 1/20 (32). Linlithgow has his back to the camera. H.E. Reid sitting on the floor on the left. L. Corfield on the verandah of the Minister's house. Power, Marrison, Mr Bhosh[?], 'Gunput', Self, Lady Sykes, Sir Frederick Sykes, HH Akka Sahib, HH Davyer[?] Maharani, Margaret, Caste[?], Barton'. E.S., Macalister, Sansar C., Pank, Devi S., Jhalai, Traill, Digi, Meyer, Atchraol, Colonel Sir Swinton Jacob, Sewar, Kotla'. Print is creased and stained. No. 51 in Burke catalogue of Afghan War views. No. 58 in Burke catalogue of Afghan War views. Lieutenant-General Sir Michael Biddulph is the second British officer from the left. The figures are identified as General Salmond, General Fowler, Brigadier-General Borton, Brigadier-General Money, Captain Ross Smith.[Gelatin silver print, 86x139mm]. Faded print. An unidentified European man stands on the left. Duplicate of 10/27 (368). [Printing-out paper, 179x109mm]. ; ___ 90th; Simpson, Artillery; Haig, 90th; Apothecary; First line from right: Graeme, Fusiliers; Haydock, 90th; Maude, RA; Da Costa, Seikhs[?]; Browne, RA; Hornsby, Fusiliers; Bertie, [Fusiliers]'. Copy print. Also above the parapet at the top right of the photograph is the' Shadow of Maude, RA. Disturbed by a round shot'. Copy print. Caption on the accompanying manuscript list reads: 'Group of officers of the Madras Fusiliers, 90th L.I. and Artillery on the roof of Alum Bagh House'. Also at the top right of the photograph, 'Maude, RA'. Copy print. The scrolls of the various offices sit on cushions on the table. Caption note continues: 'The two centre elephants carried Their Excellencies Lord and Lady Curzon, and Their Royal Highnesses The Duke and Duchess of Connaught. On the remainder were mounted the staffs of the Viceroy and H.R.H. the Duke of Connaught' Similar to print 207 and probably photographed during the visit of the King and Queen of the Belgians. Woodhouse and Lt Col Baddeley, MSG, are also identified. [Albumen print]. The figures are identified beneath the print as: C. E. S. [Charles Stotherd], Richards, Geogeghan, Craven. The steam engine drives a drum round which steel rope is wound. The ascending and descending cars are attached to this rope. This view was probably taken at railway workshops in Lahore before the machinery was installed in the Khojak Pass. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 328, there titled 'Pathans of Jacob's Horse.' [Gelatin silver print, 140x80mm]. [Gelatin silver print, 140x80mm]. Photograph presumably taken at around the time of the Chinese invasion of Tibet. [Printing-out paper, 240x200mm]. [Albumen print, 242x180mm]. See 'Tibet Past and Present', pp. 148-59. For another, almost identical group portrait, see print 308. See Tibet Past and Present, pp. 148-59. For another, almost identical group portrait, see print 92a. This print also appears as plate 22 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Group of natives of Kargullik, Nov. 1873. This crossing point is identified in print 94 as 'near Nizamghat'. A very faded print. [Gelatin silver print, 91x59mm]. [Gelatin silver print, numbered '33 BS' in the negative, 138x83mm]. Slightly faded print. The following identifications are supplied: Persian customs sowars, Indian sowars, M. Cesari (Persian customs), Dr Frank (Russia), Cossacks.[103x77mm]. O'Connor stands with back to camera. Ho Kuang-Hsi was the Chinese representative at Shigatse. Negative only, no print. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 282. Numbered 'XLVIII' (scratched out) in negative. Slightly faded print. Identified beneath the print as 'CES [Stotherd], Craven, Richards, Geoghan'. Print 30 is another view taken on the same occasion. The woman in the centre of the group is Tip Htila, Princess of Keng Tung (compare portrait at Photo 430/78 (75).[Printing-out paper, 103x76mm]. Similar to Photo 92/11 (16), where the sitters are identified as the rulers of Kenglun, Mokmai, Mong Pan, Laika, Mong Nai, Mong Ruon, Gantarawadi, Wanyin, Mong Sit, Nong Won, Sikip, Nam Kok, and Nawkanmaingtin. For a note on the occasion, recorded in Scott's diary, see Photo 92/11 (1).[Gelatin silver print, 175x123mm]. [Printing-out paper, 104x78mm]. This print also appears as plate 34 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Guard of Artillery Sirbaz, and group of officers assembled in the court yard of the Urda of the Dadkhwah of Yarkund.' M.R. Leonard on horseback.[Gelatin silver print, 131x81mm]. Figures identified beneath print are: Mr Ainslie, Major George van Baerle Gillan, Mr Sladen, Harold Wilberforce-Bell. [Albumen print, 240x183mm]. Photographed at the conclusion of Wuntho Sawbwa Campaign, when an amnesty had been offered to rebels. This print also appears as plate 80 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Party deputed to Kabul, 1st January 1874.' This print also appears as plate 23 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Officers in the service of the Dadkhwah of Yarkund.' Slightly unsharp. Six Tibetans were killed in the action at Samada (see note at print 145; see also print 153). [Gelatin silver print, 83x113mm]. Reproduced in G.E.Mitton, 'Scott of the Shan Hills' (London, 1936), facing p. 235, there captioned, 'The meeting of the PeT Ken (Wa chiefs). The interpreter is reading the letter of appointment. Note the singular old man with the goatee just behind him. The canopy at the back is for an open-air bath'. For a similar view, but in portrait format, see Photo 92/11 (312).[Albumen print, 241x190mm]. Faded print. Two of the hunters, Prince Antoine D'Orleans and Mrs Showers, are identified below the print. Names as '1. Dr Peyton, AMD; 2. Capt Newington of 22nd and 'Brinnie'; 3. Dunlop Smith of 22nd; 4. ? Bearer; 5. Color Sergt Geossop, D Compy of 22nd; 6. Fort Sergt Major; 7. [caption unclear]'. Another copy at Mss Eur F197/653 (8).[?Gelatin developing-out paper, 275x228mm]. Another copy at Mss Eur F197/653 (9).[?Gelatin developing-out paper, 275x227mm]. Duplicate of Mss Eur F197/669 (55).[Silver printing-out paper, 290x212mm]. Duplicate of Mss Eur F197/669 (56).[Silver printing-out paper, 278x207mm]. Sikhyong Namgue and Thotab Namgue are seated in the centre of the group. The bearded European seated on the left is (Sir) John Ware Edgar (1839-1902), Deputy Commissioner of Darjeeling (identified in a copy of this print in the collection of Howard Ricketts). For an account of the meeting, see print 13. Second copy neg at B.6456.[Albumen print, 283x209mm]. The Viceroy in 1925 was Lord Reading. H.B. Huddleston stands at the left of the group. This regiment served in China, but this view is not listed in the published catalogue of Beato photographs of the campaign, although it may well be his work. Prints 28-30 appear to have been taken at the same location and at the same time. The regiment became the 23rd Bengal Native Infantry in 1861. [?Gelatin developing-out paper, 276x227mm]. Also identified are Harold and Margaret Wilberforce-Bell and Mr Bibra. The following figures are identified beneath the print: Abell, Harold Wilberforce-Bell, the Nawab of Jhajjar, Townsend, Hubert, Pelly, Marden, Marsden, Anderson, Miss Townsend, Mrs Hubert, Mrs Anderson, Mrs Abell, Mrs Marden. Probably photographed at Bandra, where the firm of D'Souza and Co. had a studio.[Gelatin silver print, 201x151mm]. [Printing-out paper, blind-stamped 'Lawrie', 293x203mm]. Brownlow, Mrs Randall, Lord Lawrence, Sir P. Lumsden, Lady Lawrence, Sir D. Probyn, Col W. Fane, Sir D. Stewart, Lady Cunninghame, Capt Vickers, Col C. Chamberlin, Mrs P. Lumsden, Mr Brandreth'. Another copy at Photo 835 (400). [Gelatin silver print, 140x80mm]. [Gelatin silver print, 140x80mm]. The following sitters are identified: Dr Robertson, Lord and Lady Roberts, A. Atkinson, Col Neville Chamberlain, Dr C. Owen, Maj Travers, Gen de Bourbel, the de Bourbel children. [?Gelatin developing-out paper, 274x229mm]. The following fiugres identified beneath the print: Dick Gooch, Elliott, Goschen, Hugh Stable, Mrs Sen, Harold Wilberforce-Bell, Rani of Mandi, Lord and Lady Linlithgow, Raja of Mandi, Lady Doreen Hope, Gilbert Laithwaite, Mr Sen. The only figure identified is James Howard Thornton (1834-1919), Indian Medical Service, who was Principal Medical Officer during the campaign. See also Photo 369/4 (8). Apart from Hudson, the only identified figure is James Howard Thornton (1834-1919), Indian Medical Service, Principal Medical Officer. From left to right: Lord Pethick-Lawrence; Lord Lothian; Lord Peel; Sir Damuel Hoare; Lord Sankey; Mahatma Gandhi; Madan Mohan Malaviya; --; Sir Tej Bahadur Sapru. Second copy neg at B.2534. The following figures are identified: Margaret and Harold Wilberforce-Bell, Dewan Gyan Nath of Nabha, Capt Battye (under secretary), Capt Drew-Wilkinson (personal assistant). Figures identified beneath print as follows: Miss Bowden-Smith, Fisher, Raja of Mandi, Mrs Coldstream, Harold Wilberforce-Bell, HH the Maharaja of Kapurthala, Margaret Wilberforce-Bell, the Tikka Raja of Kapurthala, Anne Coldstream. Lord Connemara holds a pick for knock in the spike. Presumably photographed at Villupuram (Viluppuram). Team members are named as follows: Bedfords, Monteath, Leader, Cookson, Ker. 113th Infantry; Major Lloyd-Jones, [Major] Lash, Palmer, Parkin. Gymkhana; Major Griffin, 3rd Skinner's Horse, Boyd, R.E, Murray, P & O.S.N.C., Hill, R.A. Prints 28-30 appear to have been taken at the same location and at the same time. [Printing-out paper, 280x203mm]. Figures identified beneath print are as follows: H.H. the Maharaja of Bhavnagar (minor); the Thakur Sahib of Wadhwan; Mr Bibra; K.S. Kanaksinhji of Sayla; Colonel Burke; Harold and Margaret Wilberforce-Bell. Ramsay MacDonald is seated centre left.[Gelatin silver print, 379x159mm]. [455x245mm]. [Albumen print, 243x187mm]. Lethbridge, Battalion Commander; Subadar Major Sudhama Rawat; W.R. Head, District Commissioner; Jemadar Adjutant Bharrup Singh ; Subadar Pow Chin; Jemadar Quartermaster Tulsi Datt; Captain R. Cook, Assistant Commissioner; Jemadar Mani Chand; Jemadar Htang ha. [Gelatin silver print, 140x80mm]. [Gelatin silver print, 201x150mm]. [Printing-out paper, 292x200mm]. J. Corbett seated in the centre of a large group of Baluch Zemindars at the opening of a section of canalworks. The Ooch Ragwah is probably one of the branch canals of the Desert Canal (also known as Maksudah Wah). Lord Mayo and Sher Ali Khan in the centre, Afghani sirdars at the left and British political officers at the right. The young son of the Amir, Abdullah Jan, stands to the left of Mayo. The identification of Taylor as the photographer of this and the following durbar groups (see prints 43, 49, 51, 58) rests on the duplicate of print 58 at Photo 211/1 (81), which is specifically credited to him. See that print also for identifications of the various figures in the group. See note at print 79. Figures identified as follows: W.C. Tudor-Owen, J. Ghosal, Colonel C. Price, Maj.-Gen. Sir James Bell, Lt H.M. Wightwick, Major W.M.P. Wood, Captain A.S. Meek, Lt.-Col. Abua, Captain Humphreys ADC, Lt.-Col. F.W. Wodehouse, Captain Lunham IMS, Miss Bell, Mrs Price, Miss Bell, Lady Bell, Hon Mr C.H.A. Hill CSI CIE, Mrs Tudor-Owen, Mrs Berthon, Miss Croley, Lt Harold Wilberforce-Bell, Rosamond Hill, Mrs Hill, Captain A.H. E. Mosse. This snapshot was clearly taken on the occasion when the chiefs were gathered together for a formal group portrait at the Durbar: for a copy of this group, with identifications of the sitters, see Photo 99 (45).[Printing-out paper, 100x75mm]. The sitters are identified as the rulers of Keinglun, Mokmai, Mong Pan, Laika, Mong Nai, Mong Ruon, Gantarawadi, Wanyin, Mong Sit, Nong Won, Sikip, Nam Kok, Naw Kan maingtin.[Gelatin silver print, 207x150mm]. [Gelatin silver print, 140x80mm]. Muttannah, Conservator of Forests, in the centre of the group. The following sitters are identified beneath the print: Todd, Willmott, C. E. S. [Charles Stotherd], White, Q., Lewis, Laurie, [?]Thiselle. The casket was found in the Kanishka Stupa at Shahji-ki-Dheri, on the outskirts of Peshawar. The Dalai Lama came down from Darjeeling to visit the Viceroy in Mar 1910. See Sir Charles Bell, 'Portrait of the Dalai Lama' (London, 1946), pp. 93-96. This photograph is reproduced facing p. 112:'Some time before the Dalai's visit, a casket had been discovered, believed to contain three pieces of bone of the Buddha himself. They were discovered at the great chaitya or stupa of the Buddhist King Kanishka, near Peshawar, in north-western India...The Dalai Lama with his Ministers and other members of his entourage visited the Indian Museum in Calcutta, where the casket was resting temporarily. Taking the casket in his hands, he blessed all the Buddhists present, including those of his own staff, the young princes of Sikkim and Der-ge, and my Buddhist associates, by touching them on the back of the head as they stood in a semi-circle in front of him, with heads deeply bowed. It was a solemn ceremony, and all were both awed and pleased to have made so close a contact with the Founder of their religion through the medium of these precious relics.' (pp. 95-96). The relics were later sent to Mandalay; the casket itself is now in the Peshawar Museum. This print also appears as plate 10 of Sir T. D. Forsyth's Report of a Mission to Yarkund in 1873 (Calcutta, 1875), entitled, 'The Ex. Raja of Ladak and family.' [Printing-out paper, 284x193mm]. There was no Government House at Lucknow and the location of this photograph has not been identified (possibly Lahore?). The key beneath the print identifies the following sitters: Miss Gilphin, Sir George Gilphin, Lord Lytton, Lady Lytton. [?Gelatin developing-out paper, 197x139mm]. M.S. Chatham. Admiral Sir Herbert Richmond and the Tsarong Shap� stand in the centre of the group. [Gelatin silver prints]. Amir Sher Ali's head is blurred through movement during the exposure. See print 58 for a sharper group taken on the same occasion. Duplicate at print 97. [Gelatin silver print, 286x234mm]. See entry for Photo 50/1 (39) for notes. This appears to be the photograph listed in the 1872 Baker & Burke catalogue as 'Group. The Amir and Suite, with European Officers, sitting in front of the Commissioner's tent at Fort Jamrood'. This is one of a series of photographs taken by the firm of the Amir's return from his visit to Lord Mayo at Ambala at the end of March 1869. This is one of the views taken during the return journey. Henry Bellew seated third from right, next to the Amir's son Abdullah Jan. Duplicate at Photo 752/12 (3). British officials are Dr Bellew, Col Chamberlain and Sir Frederick Pollock. See entry for Photo 50/1 (48) for notes. This is the photograph listed in the Baker & Burke catalogue under the title, 'Departure for the Khyber, the Amir on his favourite horse, with Sirdars in group, and Cols. Pollock and Chamberlain, Dr Bellew with the Prince Abdoolah Jan in the front. Khyber seen in the distance'. L.T. Jones, Indian staff and British troops. S. Ali Ibrahim; Fl-Lt Moore RAF. Mitter, Sardar Charanjit Singh, Self, Sir B. Mittra, the Nawab Regent of Lohara, the Maharaja of Charkhari, Mrs Tin Tal, Webb, Johnson, Keele'. [Printing-out paper, 231x200mm]. S. Vajubha, Harold and Margaret Wilberforce-Bell. Some individuals are named as follows: 'Mr Squire, Captain Lunham, Captain Herbert, Self, Colonel Simpson, Colonel Harvey, Major Neale, Mr Cunningham, Colonel Gordon-Walker, Lady Worsley, Lady Irwin, the Nawab, Lord Irwin, the Begum, Sir John Thompson, Mr Kealy'. [Printing-out paper, 235x190mm]. This is presumably food being supplied to the refugees seen in print 11. See note at print 11. Faded print.[Albumen print, 229x170mm]. This print also appears as plate 18 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Camp at Shahidulla Khwoja [Xaidulla], the frontier outpost of Yarkund Territory towards Kashmir, 22nd Oct. 1873'. [Printing-out paper, 193x133mm]. Sitters include Lord and Lady Minto, Francis and Helen Younghusband, and other unidentified members of staff.[Silver printing-out paper, 210x150mm]. [Printing-out paper, blind-stamped 'Lawrie', 288x210mm]. Postcard sized print, divided into two images. Poor quality.[Gelatin silver print, 123x73mm]. [?Gelatin developing-out paper, 199x147mm]. Duplicate of Mss Eur F197/669 (43).[Silver printing-out paper, 203x145mm]. Named from left: 'Margaret, Sir Frederick Sykes, HH Maharaja of Kolhapur, Lady Sykes, Self [Wilberforce-Bell]'. An indistinct print.[Silver printing-out paper, 144x85mm]. [?Gelatin developing-out paper, 150x103mm]. The Dewan (Prime Minister?) of Travancore at this time was Dr Sir C.P. Ramaswamy Aiyar. A Union flag with the Star of India in the centre is hanging from the wall behind. The Dewan (Prime Minister?) at this time was Sir A Ramaswami Mudaliar. R. Dunlop Smith. B. Surve (Prime Minister)'. [?Gelatin developing-out paper, 151x102mm]. Distant view.[?Gelatin developing-out paper, 152x102mm]. [?Gelatin developing-out paper, 152x101mm]. To the left of the Prince is Sir Reginald Henry Craddock, Lieutenant-Governor of Burma. [?Gelatin developing-out paper, 275x228mm]. Individuals named as: 'Nawab, Miss Bridget, Partab Singh. Col Benn, Miss Benn, French Consul Genl, Miss Anderson'. [Gelatin silver print, 130x81mm]. Lord Elgin visible in left background. The pencilled caption on the mount also gives the time as 4p.m.[Albumen print, 167x122mm]. The following figures are identified beneath the print: Mrs Hobbs, Malik Umar Hyat Khan Tiwana, Margaret and Harold Wilberforce-Bell, Mrs Hearn, Maharaja of Jind, Raja and Rani of Kalsia, Maharaja of Tikeri. Duplicate at Photo 1/8 (13). Print undated in album. Patrick French, Younghusband (1994), quotes his subject in The Light of Experience as saying that he visited the Amban on the day of his arrival in Lhasa (3 August). This does not appear to be correct: 'Lhasa, 5th August. I yesterday returned Amban's visit, conducted by Amban's body guard, and escorted by one company Mounted Infantry and two companies Royal Fusiliers...' (Telegram from Younghusband, Further papers relating to Tibet, No. III, Command 2370, 1905, p. 49). Print in very poor condition (water damage).[Gelatin silver print, 77x50mm]. Probably the photograph referred to in Scott's diary for 13 December: 'Photographed Gurkhas battery...' (OIOC Mss Eur F278/4 f. 99).[Albumen print, 238x180mm]. B. Huddleston and official group on the platform at Pegu, with two young dancing girls wearing placards on their back advertising the war loan scheme. B. Huddleston and others seated at a table. The original identification of the location as Kyangin, written on the negative, has been retouched out. M.S. Greyfly moored on the Tigris. Slightly faded print. M.S. Greyfly moored on the Tigris. M.S. Grey Fly moored on the Tigris at Qal'at Salih. Probably photographed at Pekin. This is Print 91 in the published catalogue of Beato's China views. A note on the reverse reads: 'The last Hospital Ship to go through the Suez Canal on the voyage to India in August 1916. The Turks held the left bank but were moved out by the Australian Troops'. Print mounted on card and stamped on reverse: 'J.A. Savarese Cinema & Photo Artist. 1-31 Lewis Street, Rangoon.'[250x126mm]. Faded print. Platinum print. Platinum print. [Printing-out paper, blind-stamped 'Lawrie', 285x207mm]. This was prettily decorated with imitation creepers interspersed with passion flowers. On the front were various Chinese designs, while in the centre was the British coat-of-arms, without the motto, however. The whole was surmounted with a moon' (unidentified newspaper cutting). See note at print 37. Duplicate of Mss Eur F197/669 (2).[Silver printing-out paper, 282x208mm]. [?Gelatin developing-out paper, 150x103mm]. [Gelatin silver print, 131x81mm]. Negative only, no print. Other copy negs at B.1917, B.8074. , Cap Wigram [and] Col Jit Bahadur'. Group portrait with actors and musicians. Wilberforce-Bell and Tate are identified. Cracked negative. Briscoe-Owen, self [Wilberforce-Bell], Margaret [Lady Wilberforce-Bell], Mrs Briscoe-Owen, Mrs Tate, J.C. Tate, J. Clayton, the Minor Rana of Porbandar, Thakor Saheb of Wadhwan. British troops moving through jungle. Typescript note on reverse reads: 'Trainign for jungle warfare. Jungle warfare will play an important part in future operations in Burma, Malaya and the Pacific islands. British and Indian troops in India are training for this special type of warfare. It is very tough going, but they know they are preparing for a very tough job. Protruding rifles betray the presence of soldiers in the jungle. They have to be kept low in jungle warfare.' E. Stotherd's bungalow, with ponies. The sangar was the low stone wall built by the Tibetans. Shooting broke out a few moments later, resulting in the death of over 600 Tibetans. There are conflicting accounts of the immediate cause of the outbreak of the fighting. Deputy Commissioner directing operations. Ashford (Supt, Workshops), F.C. Rose (Supt Engr), Sir Louis Dane (Lt Governor), W.E.T. Bennett (Chief Engr), Y[?] (Insp General, Irrigation), McDougal, [?], W.N. McLeod'. Hassan Nand, Contractor; A.E. Orr, Esq, SE; Col Maclagan, RE, Chief Engineer; Mrs Maclagan; Malcolm Maclagan; Fazel Din, Contractor; R. Trevor Jones, RE; Mrs Macfarlane; Donald Macfarlane; D. Macfarlane, Esq, EE'. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. L. Corfield in centre. Other figures identified as follows: 'A politician from Sind - minister [H.B. Ijaz Ali] - State Accounts officer'. Standing left to right are Jatindra Roy, Mrs Ellen Roy, Subhas Chandra Bose, M.N. Roy. [Gelatin silver print, 158x203mm]. [Gelatin silver print, 162x213mm]. The Lansdowne Bridge was designed by Sir Alexander Rendel, fabricated by Westwood, Baillie & Co of London and erected by F.E. Robertson, Executive Engineer of the Indus Valley State Railway and his assistant, Hecquet. The only two who can be identified are Sir Umed Singh, Maharao of Kotah, and Sir Raghubir Singh, Maharao Raja of Bundi. In token of high admiration and esteem and warm personal regard, by his associates in that department of the East India House, September 1858'. George Gosling, HM 23 RW Fusileers [sic], who departed this life on the 11 May 1859. This tablet is erected by his comrades as a mark of their esaeem [sic] and a regard [sic]'. [Albumen print, circular image, 62x62mm]. ..' (Wheeler, 1904, p. 171). Probably a cattle farm. Probably a cattle farm. R. Dunlop Smith is in the howdah at the back. The two girls (one on the right, the other on the pony) are in Print 16 and in Photo 355/3 (32) where they are identified as Edith and Winnie. R. Dunlop Smith is marked with a cross. 'This view shows more especially the damage to the head of Aberdeen Dock. The houses and other property on shore are also seen to have fared very badly. All that was left, on the morning of the typhoon, of some of the buildings was a pile of d�bris.' With a guard of honour of Black Watch and Gordon Highlanders on the platform. A good clear view of the structure. Other copy negatives at B.2759, B.2818, B.6638. [Gelatin silver print, 131x81mm]. [Printing-out paper, 193x123mm]. Duplicate at Photo 430/40 (8). Duplicate at Photo 430/40 (9). Duplicate at Photo 430/35 (34). Duplicate at Photo 15/3 (44). Other copy negs at B.423 and B.10348. This photograph was taken at Ellora, not Daulatabad. [Gelatin silver print, 154x99mm]. [?Gelatin developing-out paper, 273x227mm]. [?Gelatin developing-out paper, 150x104mm]. An indistinct snapshot. [104x79mm]. This is in a group of 8 prints under the heading, 'Laying the foundation stone ceremony of the King George Silver Jubilee Park, Nabha'. Distant and slightly unsharp. Prints 76 and 77 are dated 1932 and 1933 respectively: it seems likely that the two pictures were in fact taken on the same occasion. Negative only, no print. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 124. [?Gelatin developing-out paper, 274x226mm]. W.L. Harvey, Sir Charles Watson, Mr Howell, Mr Narahari Rao, Mr Smith, Mr Pinter, Mr Higgs, Self, Lady Bray, Sir Denys Bray, Mr Wylie, Mr Sumner, Mr Coates, Mr Hill'. Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. The land in the background is undergoing deforestation in preparation for coffee planting. Mr Paul, 2. Lord W. Beresford, 3. Mr Barnes, 4. Mr Hutchins, 5. Mr Hart, 6. Sir A. Scoble, 7. Captain Lister, 8. Captain Streatfield, 9. Marquess of Lansdowne, 10. Colonel Ardagh, 11. Sheen Tai, 12. Mr Cuningham, 13. Surgeon-Major Fenn, 14. Captain Creagh, 15. Captain Pakenham'. Negative only, no print. This print looks along the right-hand wing of the arena, showing guests in their seats. Duplicate copies at prints 192-195 and 196-199. There was possibly originally a fourth section at the left-hand side of the print. General view of village and surrounding military encampment. This panorama duplicates those at prints 185-188 and 196-199. This panorama duplicates those at prints 185-188 and 192-195. The view shows the large crowd of Tibetans, formed into a square and seated on the ground on the plain outside the town. Looking down onto camp of 32nd Sikh Pioneers from neighbouring hillside. The copy of this print in Mss Eur F157/819 gives the location as 'near Shomdang.' This is presumably the place marked as 'Simtang' on the map in Papers relating to Tibet (Command 1920, London, 1904). See also Print 13. ), Alwar, Baroda, Kashmir, Patiala, Kachh, Jodhpur, Khairpur, Dewas (Junior Br.), Sangli, Sitamau, Datia, Balasinor, Bharatpur, Bikaner, Limbdi, Maler Kotla, Wankaner, Palitana, Kotah, Panna, Chota Udaipur, Porbandar, Bhopal, Baghat, Mandi, Suket, Kalsia, Bhor, Jamkhandi. The group also includes the Viceroy, Lord Irwin and three IPS officials: B.J. Glancey, C.C. Watson and H. Wilberforce-Bell. Not one of these houses escaped unscathed, and by far the greater number were reduced to a heap of ruins. The boats, which are always to be found in large numbers in this locality, also suffered severely, and hundreds of natives must have perished on this spot.' The embankment on the side of the Canal, which is built of stone and brick several feet in thickness, is stripped along its entire length, and what was once a mass of closely-packed dwellings is reduced to a heap of ruins. The timber lying on the quay is what has been collected from amongst the debris on the spot ready for removal.' Pustau & Co.'s. It was in a peculiarly exposed position and its western wall about 2 or 3 feet in thickness was almost entirely demolished. The roof was completely stripped, and the boundary walls were levelled to the ground, as were also the silk godowns at the rear of the premises, leaving nothing but a mass of debris to mark the spot where they once stood. This view gives an excellent idea of the force of the wind as instanced by trees which lie uprooted in all directions.' Shameen [the foreign settlement] can be seen peeping over the roofs of the houses, and the whole of the intervening houses have sustained more or less injury. The narrowness of the streets almost preclude the possibility of taking a view from the ground and therefore the real damage is not evidenced on this spot, but when it is considered how closely packed are the houses, and the number of people who herd together under one roof, (without any attention to or knowledge of sanitary laws, and strange to say without the direful consequences to be expected from their lack of attention in this particular) the magnitude of the catastrophe and the almost hopelessness of escape may be realized.' The picture speaks for itself.' The house on the left is the German Consulate; it is a very substantially built residence, and owing to this, the house escaped any severe internal injury, though the roof was nearly stripped. The boundary wall, which is of granite, was reduced to the state of ruin seen in the picture, and the beautiful trees and shrubs for which Shameen was noted was almost totally destroyed. The houses to the right were also very much injured.' 'An expedition consisting of one civil officer, two British M.P. officers (Captains A.C. Moore and R. Cook), six Indian officers and 194 rank and file left Hlanti on the 3rd Jany. for a two months tour in the Naga Hills. Of this number one I.O. and 34 other ranks were from the Reserve Pen. The objects for which the expedition was despatched were attained and the men returned to Hlanti on 2nd March 1928 without any untoward incident worthy of record.' (p. 153).[Gelatin silver print, 142x82mm.] [Gelatin silver print, 124x78mm]. Hullock and Major Roger North with a platoon. Lady Willingdon about to board. Negative only, no print. Lady Curzon can be seen climbing onto the animal nearest the porte-coch�re.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001. The mock battles and troop dispositions are described in accompanying newspaper clippings. The palisade has an additional defensive perimeter of sharp wooden stakes. Photograph presumably taken during one of the pacification campaigns following the Third Burmese War. Duplicate at Photo 88 (66). Part of the famous chandeliers can be seen at the right. Indicates the bed level of the ravine; B. Indicates the bed level of foundation of the abutments'. Other copy negs at B.2819, B.2796, B.6641, B.8552. 'Pokfoolum is a village on the south-west of the island of Hong Kong. The above sketch represents the ruins of a bungalow which had been erected there; the typhoon nearly levelled it to the ground. Many bungalows had lately been erected on the more exposed parts of the island and on the Kowloon peninsula. They offer a cheap and agreeable place of residence, especially in the summer; but it is dangerous to occupy them during the typhoon season.' Duplicate at Photo 59/6 (18). 'The fire which occured at Macao during the typhoon, and added so greatly to the horrors of that night, is supposed to have originated among the tea-hongs represented in the above sketch. Whether the fire was accidental, or an incendiarism, was not ascertained. It spread with fearful rapidity, and the destruction of property by it alone was very great.' Photograph enclosed with Agent's letter 456 of 23 April 1906. Lady Wilberforce-Bell is in the background, identified by, 'Margaret'. Note photographer at work in foreground. [?Gelatin developing-out paper, 195x147mm]. Note photographer with camera on tripod in left foreground.[?Gelatin developing-out paper, 275x228mm]. Another copy at Mss Eur F197/653 (10).[?Gelatin developing-out paper, 195x149mm]. With palace in background and fort on skyline beyond. Small oval image. See also print 59. Platinum print The Viceroy is seated on a ceremonial litter. Sir Raghubir Singh, Maharao Raja of Bundi, stands to the right. Head-on view of the viceregal dais, taken from the platform at the base of the central flagstaff.Platinum print. Duplicate at Photo 15/5 (2). The following individuals are named: 'Lord Elgin, H. Babington Smith, Col Hendley IMS, Col V.E. Law, HH the Maharajah, B.G., Thakur's [?] Chomoo [and] Rawalji'. W. Barnard at the Cenotaph.[Gelatin silver print, 153x99mm]. E.B. Portal and 'Bootle'. The 'Self' referred to in the caption is Captain M.E.B. Portal, ADC to the Governor. Some individuals named as follows: 'Mr Hayman, Self, Mr Cotton, Mr Litster[?], the Viceroy, Mr Hotz, Mr Parker, Major Rayner'. This is presumably no. 2 in the series 'Illustrative of Lord Mayo's late Visit to Peshawur' in the Baker and Burke catalogue, where it is titled, ' Lord Mayo and party returning from Kohat, taken in Kohat Pass at a Khore.'[Albumen print, 278x190mm]. This is probably the photograph forming part of the series in the Baker & Burke catalogue 'Illustrative of Lord Mayo's late visit to Peshawur' and titled 'Lord Mayo and Party, at Fort Jamrood'. Distant view.[?Gelatin developing-out paper, 150x103mm]. [?Gelatin developing-out paper, 194x145mm]. [?Gelatin developing-out paper, 194x146mm]. [?Gelatin developing-out paper, 194x148mm]. Occasion not identified with certainty, possibly at station prior to departure from Delhi. Duplicate at Photo 10/27 (204). Heavy brown staining on print. [Gelatin silver print, 200x147mm]. Duplicate at Photo 1/22 (45), which see for identifications. The various articles and foodstuffs used in the ceremony are arranged on the ground in front of the couple. The letterpress slip pasted beneath the image describes the occasion as follows: 'The Navagali or Fifth Day Ceremony of the Marriage. (1) Five concentric circles in rice dyed in five colours are traced on the floor in front of the marriage seat, and five earthen vessels, painted red and white, are placed within. The largest in the centre and four smaller ones at the four cardinal points. Strands of cotton yarn are passed round the vessels and lighted wicks in earthen dishes placed around the circle. A dagger with its point sheathed in a lime is placed by the side of the central vessel. (2) A set of condiment grinding stones with cummin seed and jaggery is placed within the circle and worship offered to Siva's consort. (3) Elephants modelled in rice and salt are placed without the circles, North and South, and the married couple seated in the front of these figures perform puja to Siva's consort; to Ganapathy, her son; the three hundred and thirty million Devas (gods); the Dagger, and the Elephants. Sixteen Brahmin ladies then enter with various kinds of cooked rice, fruits, etc., and walk round the figures in company with the married couple. After purifying the four cardinal corners of the hall, the articles are placed on plantain leaves with lights around them. The dagger with lime being held by the brother of the bride. (4) The married couple stand alternately on the modelled elephants and ask each other to exchange mounts. (5) The married couple offer betel leaves and nuts to the Brahmins, and then help themselves. (6) The bride and bridegroom are sprinkled with colored water by the officiating priest and then by next of kin. (7) The ceremonial strands of thread bound the wrist of the right hand of the bridegroom on the first day of the marriage are removed by the priest and the rites brought to a close.'Duplicate at Photo 430/73 (37); a similar group taken on the same occasion, is at Mss Eur G38/1 (4v). Poor quality print.[?Gelatin developing-out paper, 152x103mm]. Lord Minto stands with his staff at the entrance to the building.[?Gelatin developing-out paper, 195x147mm]. With European spectators and other officials standing behind. Slightly distant.[Gelatin silver print, 140x80mm]. Badly stained print. Duplicate at Photo 15/5 (7). Occasion unknown. Slightly out of focus. 1863'.[Albumen print, 61x92mm]. Image indistinct. This print also appears as plate 24 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Dastarkhwan at Kargalik, 3rd Nov. 1873'. For another copy of this print, see Photo 997 (24). [Gelatin silver print, 132x78mm]. This is probably the attack on the Kyaing-Kwintaung Stockade during the Wuntho Sawbwa Campaign, which was taken on 22 Feb 1891. Frederick O'Connor stands in the right background. Date supplied by copy of this print in Mss Eur F157/819. Presumably one of the photographs referred to in Scott's diary for 10 December: 'Views of mily. support in morning' (OIOC Mss Eur F278/4 f. 98).[Albumen print, 242x175mm]. [Gelatin silver print, 131x81mm]. [Gelatin silver print, 140x80mm]. [Gelatin silver print, 135x78mm]. Lord Mayo, in morning dress and top hatted, is at the head of the group. This appears to be the photograph listed in the Baker & Burke catalogue as 'Lords Mayo and Napier, Reviewing Troops, Peshawur grand Parade'. Napier may be the figure beside Mayo, blurred through movement. For an original print, see Photo 27 (2). The typescript note attached to the print appears to assume that this is a photograph taken in Delhi. The handwritten caption on the back of the print identifies the scene correctly.[Gelatin silver print, 172x122mm]. Line of beheaded corpses on beach, with European group posed behind. Contemporary print from this negative at Photo 527/1 (50). Group of missionaries with telescopes and cameras in position to observe the total eclipse of the sun. Contemporary print (in poor condition) from this negative at Photo 527/1 (111). See note at Photo 527/1 (104). Similar to print 21. Similar to print 53. Brigadier-General George Wolseley commanded the columns that marched on Wuntho after the Sawbwa's rebellion. This photograph was probably taken around the time of the durbar held at Wuntho (see print 30). Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 205. Possibly a snapshot by P.B. Janson. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 106. Small format print. P. Danby, manager of the Darbhanga Raj. Snapshot. Duplicate at Photo 10/27 (216). Tents in background. Presumably taken on tour. This forms the right-hand half of a panoramic view of the camp with print 17. Small faded print. Small faded print. Similar to Photo 92/3 (10) (qv). See also print 75. [Gelatin silver print, 91x59mm]. S. Whitchurch (21st Cavalry), C.C. Stewart (20th Punjabis), Cap G.A.G. Shepherd (57th Rifles) [and] TBT'. I.Power (Pte. Secy. to H.H.); Captain Sharpade, ADC. and the officers, Kolhapur Infantry & Lal Risala'. Little is visible apart from the points of light of the fireworks themselves.[?Gelatin developing-out paper, 277x229mm]. 11 in Burke catalogue of Afghan War views. 12 in the Lucknow and Cawnpore section of the published catalogue of Beato views, entitled: 'The Secundra Bagh, showing the breach and gateway. - First attack of Sir Colin Campbell in November, 1857' . The breached wall is in the foreground with the main entrance of the Sikanderbagh beyond. 13 in the Lucknow and Cawnpore section of the published catalogue of Beato views, entitled: 'Interior of the Secundra Bagh after the slaughter of 2,000 rebels by the 93rd Highlanders and the 4th Punjab Regt. - First attack of Sir Colin Campbell in November, 1857'. View looking across a courtyard littered with skeletons and bones towards the gutted Sikandarbagh. Research by John Fraser indicates that Beato did not take this photograph until March 1858, and that he appears to have had previously-covered remains exposed for dramatic photographic effect. For his detailed analysis of the circumstances surrounding the taking of this photograph, see The Journal of the Society of Army Historical Research (vol. LVIV, pp.51-55). Other copy negs at B.1120 and B.9336.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. 19 in Burke catalogue of Afghan War views. Lady Minto records that the Nizam had ordered a fleet of cars shortly before their visit. Amongst sightseers and investors were Shans, Chins, Kachins, Masoos, Chingpaws, Yawyins, Shan [?]Lyoks, Gurkhas, Indians, Burmans, & Lisoos'. Khan Bahadur Haji, Shaikh Wahiduddin Sahib, 2. Dr A. Subrawardy, 3. Lord Burnham. Sir John Simon is seen standing'. We did a very large business here. We worked until 8.30 pm, opened again at 6 am and left about 7 am for Thazi. There is a big crowd here - note sightseers on overbridge.' R.F. Mudie, ICS, OBE, performed the unveiling ceremony. The bust was presented by Shere Ba[?] & is located in the garden called after Lord Roberts ...[?]... father of the donor'. C.B. Tanner. The great Banian (Ficus Indica) tree near Wai in the Sattara District, Deccan, India...'. Dane'. [Printing-out paper, 272x200mm]. [Printing-out paper, 273x199mm]. [?Gelatin developing-out paper, 196x150mm]. See notes at Print 59. At the time of the 2nd Afghan War they were known as the 25th (The King's Own Borderers) Regiment of Foot. Capt J.H.E. Reid is sitting on the far left. Another copy at Mss Eur F197/653 (5).[?Gelatin developing-out paper, 196x149mm]. Occasion unidentified. The print may well be earlier than the suggested date given above. The following figures are identified: Harold Wilberforce-Bell, Capt Drew-Wilkinson, Battye and Dewan Gyan Nath. Frederick Charles Turner, Commissioner, Central Provinces, is seated to the left of the Governor.[Gelatin silver print, 277x237mm]. Two young Indian princes stand between the Danes. Note camera on tripod at left.[?Gelatin developing-out paper, 195x149mm]. E.A.C. (South East Asia Command?) Film Unit and accompanied by a typescript caption and background information. Showing Burmese families leaving a village with their belongings. British troops talking to Burmese villagers who have fled their villages during the last phase of the war. Soldiers talking to Burmese children. Young Burman driving a bullock cart along a jungle track. Typescript note on reverse of pruint reads: 'From North West Burma into India.Scenes along a route from North West Burma into Assam. There are no roads and the jungle covered mountains rise to a height of 12,000 feet and have to be crossed by tracks and game trails, only passable in the dry season. This is the only possible route into North West Burma across the Naga Mountains. These pictures were taken in May 1942 after the Japanese occupation of Burma.' Caption on the print reads: 'Digging'. More prints and a written account of this event are in Photo 10/26. The object of their attention is unclear (they are possibly merely looking down into the moat). Hering's 'Photographic views and Panoramas taken by Signor Beato': print 58 or 59 in the Lucknow and Cawnpore Series. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 7 in the Delhi Series. Hering's 'Photographic views and Panoramas taken by Signor Beato': probably Print 30 in the Lucknow and Cawnpore Series: 'The Bridge of Boats over the Goomtee near the Chutter Munzil with the Farad Buksh Palace'. This photograph appears to have been taken on the same occasion as print 71. Duplicate at Photo 430/3 (36). A slightly blurred snapshot. The village of Jajja is situated south of Bahawalpur. View looking along the defile, with a camel caravan passing through. One of the series of views listed in the Holmes catalogue under the title, With the Wana Column in Waziristan. Print from this negative at 80. See notes with Print 14. Caption on the print reads: 'Loading the blankets'. Similar in style to the paintings at Ajanta. [Printing-out paper, 559x126mm]. 'This sketch, taken from Penha Hill, and looking to the Praya Grande and Town, shows very effectively the position and chief features of this Portuguese city. Its situation is picturesque, and the general aspect pleasing; the visitor, in token of admiration, often exclaiming 'Beautiful Macao!' The typhoon and fire, however, - as may be here noticed, - played sad havoc; and the wholesale destruction which was caused deprived the place of much of its attractiveness.' Caption on reverse reads: 'Suleimanki headworks. Panoramic view of regulators, undersluices and weir from left guide bank. Dated 12.8.26'. Bourne & Shepherd nos 282-284. Duplicate at Photo 10/13 (10). Precise location unidentified, but probably at Yenangyaung.[Printing-out paper, 284x186mm]. The view shows spectators arranged in a square around the Union flag. Precise location unidentified, but probably at Yenangyaung.[Printing-out paper, 292x105mm]. Precise location unidentified, but probably at Yenangyaung.[Printing-out paper, 287x104mm]. The Prince of Wales visible in the distance at the left seated beneath a canopy. [Printing-out paper, 1025x208mm]. This appears to be item E in Hering's printed catalogue of Beato views, although it is there listed as comprising only two prints rather than five. Copy negs for whole panorama are B.23352-B.23356. With groups of figures standing among the wrecked buildings.[Printing-out paper, 1039x204mm]. [Silver printing-out paper, 1361x186mm]. At the nearer end labourers can be seen repairing damage to the structure. Some water damage to print surface in bottom left corner.[Printing-out paper, 775x203mm]. [Printing-out paper, 1099x195mm]. The temple seen in print 49 is also visible on the further bank of the river.[Printing-out paper, 704x127mm]. View from the interior of the fort looking across the battlements towards the town and river. The other part of the fort, across the river, can be seen in the right-hand print of the panorama. The French flag flies on the battlements at the extreme left, the British (furled) at the extreme right. This is Print F in the published catalogue of Beato's China views, and is there titled 'Panorama, - View of Pehtung, August 1st, 1860'. Copy negs for the whole panorama are B.23318-B.23324. This is Print 28H in the published catalogue of Beato's China views, from which the above caption is taken. Copy negs for complete panorama are B.23312-B.23317. The main part of the city of Victoria forms the central portion of the panorama. Military encampments in foreground. This is Print C in the published catalogue of Beato's China views, and is there titled: 'Panorama. - First arrival of Chinese Expeditionary Force - Encampment, Kowloon, Hong Kong, March, 1860.' Copy negs for whole panorama are B.23345-B.23350. [Printing-out paper, 561x126mm]. On the right the view looks over a series of protective moats interspersed with deep lines of wooden stakes, with the Peiho River and the sea beyond. On the left is the interior of the fort, with the quarters of the Chinese garrison. This is Print 20 in the published catalogue of Beato's China views, and is there titled 'Panorama. - Interior of South Taku Fort, and showing the place of landing, 25th August, 1861 [sic. for 1860].' Copy negs for whole panorama are B.23358 and B.23359. This is Print 33 in the published catalogue of Beato's China views, and is there titled, 'View of the Imperial Winter Palace, Pekin, showing the Artificial Hill, October 29th, 1860.' The date given in the caption conflicts with Beato's date. This is Print 8 in the published catalogue of Beato's China views, and is there titled 'Tangkoo Fort after its Capture, showing the French and English entrance, August 10th, 1860.' [Printing-out paper, 560x206mm]. Copy negs for complete panorama are B.11001-B.11002. Prints in poor condition, with several tears and folds.[Printing-out paper, 645x210mm]. [Printing-out paper, 528x200mm]. [Printing-out paper, 381x120mm]. [Printing-out paper, 379x120mm]. [Printing-out paper, 373x121mm]. 'This view, taken from San Januario Hospital, on one of the hills, gives a panorama of the greater part of the city of Macao, as it appeared after the typhoon. Whilst many of the residences and buildings, especially on the Praya Grande, were rendered utter ruins, there was hardly a house in the place but what sustained some damage. The Chinese dwellings, such as shown in the foreground, fared worst, whole streets being levelled to the ground.' [Printing-out paper, 375x111mm]. Copy negs for whole panorama are B.18386-B.18387. Copy negs for whole panorama are B.18388-B.18389. [Printing-out paper, 378x126mm]. Copy neg of left-hand side of panorama is B.16459. Duplicate at Photo 481/2 (16). [Gelatin silver print, 295x85mm]. This is Print 24 in the published catalogue of Beato's China views, and there titled, 'North and East corner of the wall of Pekin.' [?Gelatin developing-out paper, 151x102mm]. Lady Elisabeth Bruce alighting from palanquin. Print unsigned but numbered in style of Deen Dayal. [?Gelatin developing-out paper, 152x103mm]. Another copy at Mss Eur F197/653 (7).[?Gelatin developing-out paper, 275x228mm]. The photographer too unfortunately snapped one of the wordt platoons. In the background Admiralty House, the official residence of D.R.I.M. D.R.I.M. noew flies his flag when not at seam in one of his ships, (a) in his house, (b) in dockyard, (c) in Dalhousie.' A numbers of figures are holding up the document to display its full length. Inscribed on reverse 'With Mr Chamberlain's best wishes for 1907. 'Lest we Forget!''[Gelatin silver print, mounted on card, 52x79mm]. Similar to Photo 254/1 (13), but this is a less finished picture. [Woodburytype, 189x114mm]. The Viceroy Lord Mayo stands beneath a canopy in the background. The Duke of Edinburgh, wearing the order of the Star of India, greets officials in the left foreground. Artist of original picture unknown. The view shows the well outside the house whose interior is seen in print 16. The figures of two soldiers walking along the path, present in the original lithograph, have been retouched out of the photograph, presumably in order to disguise its non-photographic origins. Temple, Aug. 1893'. Official photograph issued in June 1945 by the S.E.A.C. (South East Asia Command?) Film Unit and accompanied by a typescript caption and background information. Official photograph issued in June 1945 by the S.E.A.C. (South East Asia Command?) Film Unit and accompanied by a typescript caption and background information. [Gelatin silver print, 79x118mm]. The 'Little House at Arrah' (see print 21) is in the grounds of the Judge's House. Negative only, no print. [Gelatin silver print, 167x108mm]. [Silver printing-out paper, 286x192mm]. Mackenzie, The Jam Sahib, J.R.D.S. [Dunlop Smith], Lord Crewe, Prince Henry, Adm Sir D. Beatty, Prince of Wales, Godfrey Faussett, Sir V. Mackenzie, [?] Parsons, HM the King'. [109x82mm]. Holmes prints? Unsharp print. Drawn (and presumably photographed) by Fry & Rahn, artists and photographers. This tablet is erected as a mark of respect by his former parishoners'. cit., p.54, showing a scene on the canal, with mortar retaining walls and sluice gates. Second copy neg at B.9337. Negative only, no print. Distant view. European group identified as: 'Capt Cooper King, Mrs Ross, Miss Ross, T.B.T., (& Mr W. Shilstone, photographer)'. L.T. Jones and staff visiting a ward. This scene was recorded professionally by Deen Dayal at Photo 430/17 (33). 'Those who have never witnessed a typhoon are very surprised on reading of large vessels being carried far inland. One of the effects of a such a convulsion is to cause the waters to rise, - in some parts during the late typhoon they rose fifteen or twenty feet, - so that the boundaries of the sea are for the time greatly extended, and fields and villages covered by water. The Portuguese brig 'Concordia' is here shown to have been carried into a rice field. 'The Alaska is here represented from another point of view, with the pontoons fixed and all preparations made for floating. It may be mentioned that some diversity of opinion prevailed as to whether the vessel could be floated by pontoons; but these means, as stated, were successful; and Captain Roberts was warmly congratulated on the result. The steamer was just three months on her rocky bed.' 'The above is a side view of the 'Alaska' as she was lying ashore at Aberdeen. It conveys a good notion of the size and character of some of the vessels of the Pacific Mail Steamship Company. She is, however, of a type becoming obsolete for ocean travelling; the vessels recently built by the company are propelled by screws, and larger and nobler craft than even the one sketched above.' S. Chandravati, dressed with flags. Duplicate at Photo 312 (3). No identifications supplied. [Gelatin silver print, 120x70mm]. The 27th were a Baluchi regiment. H.E. Reid standing right of centre. Brigadier-General H.B. McCall was in command of British Services in Bangalore District. The Assistant Adjutant-General for the region was Colonel A.B. Fenton of the Indian Staff Corps and the Deputy A.A.G. was Captain H.L. Rosher of the Dorset Regiment, both of whom are probably in this group. A further view of the same group is at Print 65. Named below the print as: 'Nopji, Vakil [and] Mohan Singh'. Letterpress captions and names have been pasted onto the mount: 'Abu Polo Tournament, First Ties, Thursady 31st May 1906. Thakur Tej Singh, Captain Souter, Thakur Sheonath Singh, Mr C.C. Watson, Thakur Bhairu Singh, Major Haig, Captain Grove, HH Maharaja of Alwar, Thakur Ranjit Singh, Mr Wilkinson, Thakur Narayan Singh, Thakur Bakhtawar Singh, Thakur Bhawani Singh, Umpire Mr Stotherd, Thakur Sadul Singh, HH Maharaja of Kishangarh'. [Silver printing-out paper, 212x282mm]. [Gelatin silver print, 140x80mm]. 09, including Salar Khan and Baluchi followers, Tukish revolutionaries, the declaration of the deposition of Shah Muhammad Ali, and guns on the streets of Mashhad. Sir George Scott is seated second from right. For Scott's official account of the Mong Nai and Fort Stedman durbars, see print 1. See also print 17 for a more informal account of the Fort Stedman gathering. Duplicate at Photo 92/8 (75), this latter in better condition.[Albumen print, 208x154mm]. This print also appears as plate 25 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Street hawkers in the square of the Mess Room of the British Embassy in Yarkund, Nov. 1873.' Individuals are named on a manuscript list accompanying the album: '[From left] Pritchard, Campbell, Mrs Reid, Wise, Reid, James, Mrs Phillips, Phillips, Muir'. Print is annotated with the word 'Florikin'. Label on reverse reads: 'British official photograph (Ministry of Information)...Bringing back bundles of straw, used for protective covering on the rice fields'. Note on reverse reads: 'By permission of the Methodist Missionary Society, of the Rev C.G. Early and of the Central Office of Information...'. Label on reverse reads: 'Indian 'Land Girl' helps with the bumper cotton harvest. An Indian village belle from the cotton country near Bombay with a load of newly harvested cotton'. Duplicate at Photo 782 (81). This photograph is reproduced as Plate 85 in Boris Mollo's The Indian Army, 1981, where the men are identified as officers of the Bombay Horse Artillery. M.M. Durand of the 133rd Battery, Royal Field Artillery. Probably by Gobindram & Oodeyram. Probably by Gobindram & Oodeyram. This is one of five posters 'Done by Mrs D.E. Boyle & RTJ [Trevor-Jones]'. This is one of five posters 'Done by Mrs D.E. Boyle & RTJ [Trevor-Jones]'. This is one of five posters 'Done by Mrs D.E. Boyle & RTJ [Trevor-Jones]'. This is one of five posters 'Done by Mrs D.E. Boyle & RTJ [Trevor-Jones]'. This is one of five posters 'Done by Mrs D.E. Boyle & RTJ [Trevor-Jones]'. Second copy neg at B.16307 T. & H.F. at Udaipur'. 'M.T.' was the owner of this album and member of the royal household. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 30 and there tentatively attributed to John Burke. ""Nanikhad"" camp, again. Cheerful looking spot to settle eh what!'. Rest Camp at ""Pathankote"" the first camp where we started the 52 mile march from. This is as far as the railroad goes to'. Rest Camp at ""Dhar"". Taken on our 52 mile march. Transport just getting ready to start off'. Rest Camp at ""Manikhed"" camp. Taken on the long march. See what sort of country we had to go over all up & down the mountain. In one place we had to march 18 miles to do 3 miles as the crow flies'. The photographs show scenes at Kraal Town, the Governor's stand, arrival of visitors by train and the various operations involved in luring the wild elephants into the stockade.Awaiting detailed listing. Lord Reading and Sir Madhava Rao Sindhia of Gwalior posed with a bag of three tigers shot in one morning. [Printing-out paper, 376x121mm]. [Printing-out paper, 376x121mm]. Many Indian guests among the diners, but the occasion is unidentified. Faded print, poor quality. The figure on the extreme left is identified as Subadar Sanghat Singh, 45th Sikhs. The copy of this print at Mss Eur F157/456 (83) notes that 'the man on the left thought the camera was a pistol, hence his face.' A board on the right has the hand painted caption: '8th Battery, RFA [Royal Field Artillery?], Doadpore Troop'. Two of the sitters appear in Print 178. F. Gatacre, DSO, London c.1896. [Gelatin silver print, 103x80mm]. Enlarged duplicate at print 63. 40 Dhobies washing, Marmalong Bridge' in the List of Nicholas and Co's photographic views. [Gelatin silver print, 132x77mm]. Similar to print 25. Platinum print. Slightly faded. Duplicates at prints 165 and 166. Bird, Wanderings in Burma (Bournemouth and London, 1897). Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list of Titles of Slides accompanying this collection. 32 in M. Satow & R. Desmond's Railways of the Raj. A number of the topographical and architectural views were in fact taken by Samuel Bourne in the 1860s. See Photo 992/1 for another copy of this work, with a full listing of prints. [Gelatin silver print, 197x141mm]. I.M. ratings being inspected. Members of the Council of Regency standing in background. Gyan Nath was President of the Council of Regency from 1923-38. Dark blue uniform & safa with red fringe (white fringe for constable). Pale buff puttees. 2) Inspector. Khaki silk pagree with gold. Khaki breeches & brown leggings & boots. 3) Sowar. Red, white & blue striped pagree & sash. Dark blue puttees. Black boots. Dark blue cavalry coat with shoulder chains & khaki breeches'. Younghusband's interview with the Abbot, who came in an attempt to persuade the British to negotiate from Giagong rather than Khamba Dzong, is described in his India and Tibet (London, 1910), pp. 125-129. Lord Minto and the Maharaja of Kashmir, Pratap Singh, are probably the two figures in front of, and to the right of the main group.[Silver printing-out paper, 213x153mm]. Several individuals are named: Mrs Martin, Lovell (29th Lancers), Major Vallancey (93rd Highlanders), MacSwiney (CR), Bell (CR), Lady Richardson, Comyn (CR), Wickham (CR), Gen Richardson, Mitford (98th Infantry), James (East Lancs.). The prints are generally in good condition, apart from slight fading. The photographs record the Grand Patriotic Fete held at Kolar Gold Fields in 1915, presumably in order to raise funds for the war effort. The photographs show the entrance to the fete, British and Indian visitors at the various stalls and taking tea. Duplicate at Photo 10/12 (30). Major Scott, VC and Col Fitzhugh are identified as are the 'Road leading to Cavalry Lines [and] J.R.D.S. [Dunlop Smith's] Bungalow'. R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. 2, p. 134. Slightly faded print. Distant view. Faded print, poor quality. General view of village and surrounding military encampment. This panorama duplicates those at prints 185-188 and 196-199. This panorama duplicates those at prints 185-188 and 192-195. See also Print 12. Wilberforce-Bell acting as cox. Caption on the print reads: 'Poona Fours. Winners of the Madras Challenge Cup, 1907'. Mess hut and servants' tent in centre, with Tibetan tent captured at Guru on the right. [147x67mm]. P. Nixon seated beside him. With retainers in the background. Distant view of riders named as: ' Carter, Bhoorji (bara), Pottinger, Miss Mackinnon, Souter, Miss O. Herbert, Devi Singh, Raja Khandela, Miss Macgregor, Indur Singh, Lady Jacob, Dhalip Singh, Partab Singh, Mahtab Singh, Nar Singh, Lachman Singh, Bhoor Singh, Jowahir Singh'. Named as: 'Souter, Mrs Herbert, Pottinger, Miss Macgregor, Miss Mackinnon, Miss O. Herbert, J. Willcocks'. A modern annotation below the original caption (by Cicely Portal?) reads: '""Last Opening Meet"", above, means the last one before the Goschens and all left India. This ps written in 1975. I still have, and wear, my father's evening pink coat. It is still very smart (though the lining could do with a refurbish), and the Ooty Hunt Buttons are just marvellous'. George P. Sanderson probably died c.1892 (see album introduction). Print published by Realistic Travels. Print published by Realistic Travels. [Albumen prints, 281x215mm]. The bride and groom are seated beneath an ornate canopy, with officers of state seated on the floor in the foreground. The duplicate copy of this print at Photo 430/41 (67) has a detailed letterpress caption describing the ceremony. J.R. Dunlop Smith is standing at the front of the platform and others are named as: 'Mr & Mrs Austen Chamberlain, Sir Pertab Singh, Queen Alexandra, Princess Victoria, Miss Chamberlain'. The Nizam, Mahbub Ali Khan, stands with the Resident, Colonel David Barr. Mr C. Walker standing in foreground (function unidentified). A Bhopal State Rolls-Royce prepares to depart. Three individuals are named: 'Herbert, Simpson [and] self'. The pencilled note 'Mrs Collyer' on the reverse presumably identifies the woman seated on the left. Occasion unidentified. General view of village and surrounding military encampment. General view of village and surrounding military encampment. This print shows the Viceroy's dais at left, with heralds and Gordon Highlanders in front at the right. Duplicate copies at prints 192-195 and 196-199. This panorama duplicates those at prints 185-188 and 196-199. This panorama duplicates those at prints 185-188 and 192-195. This section of the panorama is taken from the same viewpoint as prints 5 and 15, and chronologically falls between the two. The chair is largely obscured by Chinese figures in the foreground. The figure walking towards the camera is possibly the Amban, Yu-t'ai. cit. pp.25-27, 51-52, 57-59 for a description of this method of shifting limestone from the top of the ridge down to the canal. A similar view, better quality, at Photo 1/4 (19). The east fa�ade of the old palace (burnt down in 1897), with state troops gathered in the courtyard in the foreground, awaiting the appearance of the Maharaja. The date of this event may by 1931 rather than 1930: prints 173-178, which appear to relate to the same event, are dated 7 December 1931. One or more of the prints records a lunch given by the Raja Bahadur of Sarangarh for Lady Butler.[Gelatin silver prints]. The date is possibly 1930 rather than 1931 (see note at print 155).[Gelatin silver prints]. [Silver printing-out paper, various sizes]. Caption on the print reads: 'Breakfast'. Capt Wheler, 2. Ensign Holford, 3. Lt Hall, 4. Capt W.H. Warner, 5. M. Kavanagh VC (in sun helmet), 6. Lt Maxwell'. S.P. area. The men are holding blades. [Gelatin silver print, 208x154mm]. The European is presumably the Agent to the Governor-General, who in 1926 was Lieutenant Colonel Sir Stewart Blakeley Agnew Petterson. The Indian figure is presumably Sarup Ram Singh, Maharao of Sirohi. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 152. This view joins with print 8 to form a panorama. 'The village of Aberdeen, ahown in the above sketch, is pleasantly situated on the south side of the island of Hong Kong. Near to it is a very fine dock, belonging to the Hong Kong and Whampoa Dock Company. During the typhoon the caisson of the dock was floated away. The workshop (shown in front) belonging to the company, was very greatly damaged. The houses forming the village also suffered terribly.' Precise location unidentified, but appears to be taken from the swing at the entrance to the tide basin. 400 men under Captain Davies took the heavily-fortified stockade on 22 February 1891, although this is evidently a posed photograph, probably taken after the event. Photograph possibly taken at Dir (compare print 61). With cropping marks on centrals section of print. [Printing-out paper, 151x112mm]. Precise location unidentified, probably near Sakrand. Print stamped 'Enclosure No. 12 to Agent's Finance letter No. 519 dated 22.7.1907'. Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. A slightly unsharp image.[Gelatin silver print, 158x208mm]. Faded print. Note photographer on platform in right foreground. Platinum print. [Gelatin silver print, 203x152mm]. Badly damaged print, with tears and missing pieces from central portion.[Gelatin silver print, 109x154mm]. [Gelatin silver print, 235x142mm]. [Gelatin silver print, 255x113mm]. [Gelatin silver print, 204x110mm]. [Gelatin silver print, 133x173mm]. [Gelatin silver print, 271x116mm]. Sir Zafrullah Khan can be seen behind them.[Gelatin silver print, 106x158mm]. [Gelatin silver print, 152x106mm]. Also identified in the photograph are Gilbert Laithwaite, Hugh Stable, the Comptroller of the Viceroy's Household Captain W.E. Maxwell, and Lady Linlithgow.[Gelatin silver print, 158x206mm]. [Gelatin silver print, 152x107mm]. Ian Stephens, Director of Public Information, stands in the left background.[Gelatin silver print, 151x106mm]. A damaged print.[Gelatin silver print, 152x107mm]. [Gelatin silver print, 201x151mm]. [Gelatin silver print, 272x119mm]. [Printing-out paper, 190x121mm]. To his left, in profile, stands Bijai Chand Mahtab, Maharaja of Burdwan Raj. This view may well have been taken before the unveiling of the Curzon statue in Calcutta (compare prints in Photo 430/61). This print also appears as plate 47 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Hospital, British Embassy, Yarkund.' Precise location unknown, but this presumably shows the Sittang River in flood. Reverse of print stamped 'Enclosure No. 12 to Agent's Finance Letter No. 625 dated 13.9.1909'. [Printing-out paper, 183x121mm]. The building, of which only the lower stories are visible, appears to be some kind of octagonal-shaped tower, built of brick. There was an assassination attempt on the Viceroy Lord Hardinge (riding ahead of the Danes and not visible in this photograph) a few moments after this picture was taken. 1. This disaster occured because the berm left along the dock wall was insufficient and the walls started to slip bodily forward. The misjudgement was rectified by raising the height of the water, by this means holding the wall in place Print stamped 'Enclo. No. 7 to Agent's Finance Letter No. 469 of 23.7.06'. Print stamped 'Enclo. No. 7 to Agent's Finance Letter No. 469 of 23.7.06'. A different view of the same scene can be found at print 36, with identifying caption. [Printing-out paper, 190x120mm]. This print links with Photo 92/1 (63) to form a panoramic view of the village and camp. The figures of Lord and Lady Curzon have been montaged onto the picture. See Photo 527/1 (139) for a copy of the original print, without viceroy and vicereine. With attendants grouped round the elephant and one holding an umbrella over the couple. Prints 382-386 are duplicate copies of the same photograph. Prints 370-375 are duplicate copies of the same photograph. Prints 370-375 are duplicate copies of the same photograph. Note photographer on platform in right foreground. Platinum print. Platinum print. Skrine's typescript note on the back of the print continues: '...As he gets out of the Daimler lent him by the Viceroy (once the property of King George) the Guard of Honour of 100 Indian infantry gives the General Salute, which HH acknowledges.'[Gelatin silver print, 129x79mm]. A faded print. Print has suffered considerable physical abrasion to its surface. With sailing ships and other vessels in the background. The women have not been individually identified; Linlithgow's three daughters were Anne Adeline (b.1914), Joan Isabelle (b.1915) and Doreen Hersey Winifred (b.1920). [Gelatin silver print, 144x107mm]. Platinum print. Laithwaite's notes identify the following (rather distant) individuals: 'ADC; ADC; Lord Linlithgow; Lady Linlithgow; Lady Brabourne (curtsying); Lord Brabourne (Governor of Bombay; on terrace above, the princes.[Gelatin silver print, 204x154mm]. H. Stable and A.C. Stocker) standing behind and to the right.[Gelatin silver print, 165x107mm]. [Gelatin silver print, 201x152mm]. See Chapter 6 of J.T.O. Barnard, 'Report on the Expedition to the 'Triangle' for the Liberation of Slaves Season 1926-27' (Rangoon, 1927), bound in with this file.[Gelatin silver print, 131x80mm]. B. Gurdiah Singh, Mr Nasr Allah, Harold Wilberforce-Bell, Dewan Gyan Nath of Nabha in conversation. See print 18 for a later view. 2 Dock and the Boat Canal to Tolly's Nullah. A steam engine in the foreground. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 391, there titled 'Ram Pershad on his riding-camel.' Duplicate at Photo 59/6 (19). [Gelatin silver print, 206x145mm]. [Gelatin silver print, 204x117mm]. [Gelatin silver print, 205x136mm]. Very poor quality negative only, no print. [Gelatin silver print, 204x134mm]. [Gelatin silver print, 205x142mm]. [Albumen print, 221 x 177 mm]. Occasion and location unidentified. Slightly unsharp. cit., p.76. View looking down on work in progress, taking from a similar location to print 4, but at a somewhat earlier date. N.M. [?]'Belinaam'); Barrett; Miss Fergus; Lawrence (Yorkshire Regt); Mrs Joyce; Harold and Margaret Wilberforce-Bell; General Scott. This is probably the photograph described in the Burke & Baker catalogue as 'Lord Mayo and party, at Fort Jamrood, Fort in background. Kyber Chiefs and followers in group'. [Silver printing-out paper, 200x148mm]. [Albumen print, 310x188mm, on card mount stamped 'Bourne & Shepherd India']. The figure at the extreme right is identified as Major Peterson in the copy of this print at Mss Eur F157/819. Note camera on tripod in extreme left foreground. Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. Platinum print. Presumably one of the photographs referred to in Scott's diary for 10 December: 'Views of mily. support in morning' (OIOC Mss Eur F278/4 f. 98).[Albumen print, 241x173mm]. [Albumen print, 241x184mm]. [Gelatin silver print, 291x225mm]. This photograph appears to have been taken before print 132, since there are more cups on the table waiting to be distributed. Bailey's dog 'Jane' standing in foreground. [Silver printing-out paper, 280x204mm]. F. Gatacre, DSO, London c.1896. [Gelatin silver print, 140x80mm]. Duplicate at Photo 211/1 (81); that print specifically credits Taylor as the photographer. It also supplies the following identifications of sitters (from left): Sirdar of Kulsea (?); Nawab of Mulier Kotal; Raja of Kapurthala [Randhir Singh]; Raja of Nabha; Maharaja of Patiala; the Amir; the Chamberlain of the Amir; Lord Mayo; Seton Karr, secretary; General Beatson; Abdullah Jan, son of the Amir; Lord Napier of Magdala; Sir Donald McLeod; Sir William Rose Mansfield; Sir Henry Durand; Sir Richard Temple; Mr Ellis. Duplicate at Photo 752/12 (11) supplies the additional names of Sir Douglas Forsyth, General Reynell Taylor, Dr Bellew, Major Upperton, Colonel Chamberlain, Edward Burke, Sir Owen Burne and Colonel Seymour Blane. See also note at print 79. Platinum print. [Silver printing-out paper, 203x147mm]. [Gelatin silver print, 209x160mm]. Negative only, no print. [Gelatin silver print, 196x126mm]. Hawking party at Hassan Abdal'. Lady Curzon can be seen in the centre of the photograph, while Lord Curzon is partly hidden by the pillar at the left. Faded print. The group is standing outside a building beside a small wooden footbridge, possibly in a water garden. 1 towards the double entrance to the tide basin at an early stage of construction. With a railway truck ad workers in the foreground. L.H. Skeen & Co, Colombo, Ceylon (Photographers by appointment to HRH the Duke of Edinburgh)'. The views are captioned: 'Arch by the Government Factory; Entrance to Queen's House; Arch erected by the Roman Catholics; Prince Street, Fort; Arch, Norris Road; The Moormen's Arch, Main St.; Arch between the Fort and Pettah; Arch leading to the Railway; Arch by Sir Edward Barnes' Statue [and] Arch erected by Church Missionary Society'. [?Gelatin developing-out paper, 145x193mm]. [?Gelatin developing-out paper, 275x226mm]. Lady Curzon stands in the background. Photograph taken a few moments after print 15. Note photographers at work in foreground. [Gelatin silver print, 193x142mm]. A figure is receiving an award from Keppel. Poor quality snapshot. [Gelatin silver print, 135x78mm]. [Gelatin silver print, 135x79mm]. [103x78mm]. The photograph appears to have been taken on the same occasion as prints 10 and 12, that is at the end of his tenure of office as Governor of Bihar and Orissa. Guard of honour at right. Print unsigned but probably by Crioubansky and Marshall. With posters in background for the Gorakhpur War Plane Fund. J.Ghandy. Both figures slightly blurred. The ground has been layed out with palm fronds. Half-length seated portrait. [Silver printing-out paper]. [Gelatin silver prints]. Caption note beside print reads, 'A cooly had a heart attack & died on the table under the window. The rest demonstrated, damaged machinery & threw things about. The manager & small police party were forced out on to the upper landing whence they re-entered & cleared the room. Later coolies gathered under the trees & attacked the police who fired 24 rounds. One cooly was killed on the spot, 3 died later.' Some of the photographs have notes written on the print surface to indicate the course of events and troop movements.[Gelatin silver prints, approximately 130x78mm]. The Alwar State Team (comprising Moti Lal, the Maharaja of Alwar, Captain R.L. Ricketts and Rao Raja Amar Singh) won the International Polo Cup at the Durbar festivities. The wording of the caption implies that these were Mounted Infantry casualties, but must refer to to the Tibetan casualties, of which there were six deaths. There were no casualties among the British forces (see prints 145 and 171). [Gelatin silver print, 140x80mm]. [Gelatin silver print, poorish condition, 131x78mm]. The events of 9 November at Saran Sar are described in Hutchinson pp.113-27. Photograph uncredited, but probably by Herzog & Higgins. Occupants unidentified. Occupant unidentified. The figures in the main group are somewhat indistinct and blurred. Yakub Khan met Cavagnari for preliminary peace negotiations at Gandamak in May and on the 26th May the Treaty of Gandamak was signed. Inscription reads: 'In Memory of the Martyrs for the Freedom of India, Peshawar, 23rd April 1930'. It was erected on 27th April 1930 and demolished under government orders on 19th May. Possibly by Impey. Possibly by Impey. Possibly by Impey. Possibly by Impey. Possibly by Impey. Possibly by Impey. Duplicate at Photo 10/27 (259) The incident is not explained further, although it presumably took place in the vicinity of Lung-dong village (see print 177). Army officer being presented to the Viceroy Lord Reading. Cattle being exhibited. Crowd scene with viceregal party in distance. Distant view. Duplicate at Phot 10/27 (181). Duplicate at Photo 10/27 (177). Duplicate at Photo 10/27 (179). Duplicate at Photo 10/27 (208). Duplicate at Photo 10/27 (209). Duplicate at Photo 10/27 (210). Duplicate at Photo 10/27 (213). Duplicate at Photo 10/27 (215). Ex-Queen Supy'Ayalat being presented to the Viceroy and Lady Reading in the grounds of Government House. The last queen of Burma (dethroned in 1885) spent the years of her exile in Rangoon. Guard of Honour drawn up on the platform at Mandalay Station. Guard of Honour on platform at Rangoon Station. Lady Reading presenting prizes. Lord Reading greeting judges at Mandalay Station. Lord Reading shaking hands with army officers. Seated on carpets in front of Government House. Spectators lining the shore. Street lined with spectators waiting to see Lord Reading. The party being shown round the Palace. The Viceroy Lord Reading decorating the recipient of an honour. The Viceroy Lord Reading presenting a scroll. Under way, being towed by boats. Viceregal party in tent. Viceregal party seated outside tent. .Prints 1-80 Kohat, Aug 1944-Nov 1945. Portraits and views at the RAF station, and in the town and surrounding district. Includes views of the VE Day parade and a copy of the menu for the 'Victory Dinner', May 1945. Prints 81-89 Views on journey from Kohat to Rawalpindi and back, May 1945. Prints 90-96 Miscellaneous views and portraits at Kohat and Hangu, May 1945. Prints 97-238 Kashmir, on leave, Jun-Jul 1945. Miscellaneous views and portraits at Pahlgahm, Srinagar, Gulmarg, and hiking in the Sind Valley. Prints 239-266 Miscellaneous views and portraits, Jul-Sep 1945, including Rawalpindi Railway Station, Miram Shah Fort, and mission to destroy the remains of a Hurricane that crashed in the NWFP. Prints 267-283 Peshawar, Sep 1945. Snapshot views and portraits. Prints 284-301 Mid-tour home leave, Nov 1945-Feb 1946. Snapshot views en route, including Suez Canal. Prints 302-311 Miscellaneous views, including Bombay sea front and New Delhi Council House. Prints 312-329 Shooting expedition at Jashpurnagar near Ranchi, Mar 1946, and swimming at Hondroo Falls. Prints 330-333 Views at Ranchi, including a Japanese fighter plane, billets and temple. Prints 334-336 Taj Mahal, Agra, May 1946. Prints 337-366 Views and portraits at Naini Tal, May 1946. Print 367 Paddle steamer on the Indus. Print 368 Mosque of the Great Imambara, Lucknow. Print 369 View at Kohat? Photograph of a garden by P.S. Banga, camp photographer, Kohat. Prints 370-390 The voyage home, Jun-Jul 1946. Sea views and portraits, with copy of berthing card and souvenir card of the RMS Strathnaver. Print 391 Photograph of a Spitfire of the No 6 Squadron, IAF, Kohat. Ernest Iliff Shadbolt was appointed Engineer-in-Chief of the Indus Bridge Works in 1897; William Chadwick was officiating Engineer-in-Chief from 1899. Ernest Bruce Beatson was a railway engineer, appointed 1901. Vincent Tindall Janson, railway engineer, also appears in print 25. [Gelatin silver print, 140x80mm]. Caption of reverse of print reads: 'Oiler set on fire by her crew because she had been chartered by the British to carry petrol and oil to Gen. R.N. Wrangel in the Krimea 1919.She had to be towed out by destroyer and was sunk outside where she burnt for two days.' Print is possibly not part of the original Haward collection. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 108x75mm]. Figures identified beneath print as follows: self on 'Bridget', Megh Singh on 'Greyling'. Somewhat faded print. [Gelatin silver print, 52x77mm]. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 105x64mm]. Duplicate at Photo 10/27 (217). [Gelatin silver prints]. Duplicate at Photo 448/5 (25). Duplicate at Photo 448/5 (27). [Gelatin silver print, 98x74mm]. Poor quality print. The original caption gives the date as 'May 1911' but according to Edward J. Buck in his Simla past and present (1925) the fair was held on 17th June. Duplicate at Photo 448/5 (21). Poor quality print. Duplicate at Photo 448/5 (22). Several individuals are identified as follows: 'Cap Bayley, Cap Armstrong, Major Hore, Cap B. Carr, Maharaja, V[iceroy], Cap Wigram, Col Baring'. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x64mm]. [Gelatin silver print, 131x81mm]. A photographer can be seen at work in the centre of the square.[Gelatin silver print, 201x149mm]. [Silver printing-out paper, 88x86mm]. Caption on the print reads: 'Tea'. Another print with a fuller list of names is at Photo 448/3 (58). Some figures identified: Mrs Shakeshaft; Captain Bartlett; Mrs Bartlett; Mrs Joyce; Margaret Wilberforce-Bell; Miss Fergus; Harold Wilberforce-Bell; Mr Holbrook (referee and time-keeper). Some figures identified beneath print, including Maharaja of Tikari. Duplicate at Photo 1/8 (19). Other identified figures are Hayes (no further information) and Mr Turner (Frederick Charles Turner (ICS from 1894), Commissioner, Central Provinces).[Gelatin silver print, 276x235mm]. B. Kotak. Triumphal arch and military band at left, cheering crowds in background. [?Gelatin developing-out paper, 275x229mm]. 'One gold and one silver gun of the State are kept in the L.F. Battery. The gold gun contains 280lb. weight of solid gold, and is drawn by splendid milk-white bullocks stabled hard by' (Murray's Handbook to India...). Probably a museum piece. The Viceroy Lord Hardinge, standing behind Queen Mary. Second copy neg at B.2004. 'The Albay is here shown in Kowloon Dock. Only part of the damage she sustained can be seen. A considerable portion of the fore part of the steamer is smashed away; but she was in other parts much battered and damaged. The condition in which this vessel is here shown to be, gives some idea of the terrible violence of the typhoon of September, 1874.' A bullock cart with passengers driving towards the camera. [Printing-out paper, 190x121mm]. Possibly by Tanner. Print is annotated: 'Elaine. Naini Tal 1883'. The victor is being arrested by Indian policemen. Cast includes: 'E.F.G. Tucker, W. Jagger, F.S.C. Thompson, G.S. Nickerson. G.E. Stewart, R.H. Fuhr'. Cast includes: 'H. Boulton, H.B. Meakin, W. Jagger, G. Hutcheson, J.W.W.'. Main figures are identified as follows (from right to left): Hayden, Ryder, Younghusband, Walton, Parr, Cowie, Mitter. With flagstaff and military band in right foreground. Crowds in foreground. Duplicates at Photo 10/27 (184), Photo 10/23 (26). See also prints 40-41.[Gelatin silver print (modern print), 133xx104mm]. [Gelatin silver print, 120x70mm, with modern print, 193x121mm]. [Gelatin silver print, 134x82mm, with modern print, 192x120mm]. [Gelatin silver print (modern print), 122x78mm]. Figures identified as M.P.O'C. Tandy (Political Service), L.C.L. Griffin (Political Service), Harold Wilberforce-Bell (on 'Pocket Marvel'), M.R. Mackenzie (Royal Artillery). The prints show the Maharaja visiting the Siemens factory. A note by Barnard on the envelope containing the prints reads, 'In 1936 the Maharajah of Mysore left India for the first time, I think, for a European tour and attended the Olympic Games in Berlin. I was in Berlin, as the guest of the Governor, and our ambassador requested me to join the Maharajah's party when he visited the Siemens Factory. These photograph show Herr Siemen conducting H.H. on a tour of Siemenstadt.'[Gelatin silver prints, 108x78mm and 169x120mm]. Identified figures as follows: Happell, Bishop, Charsley, J. Rao, Karanarkara Nayar, Govindar Nambiar. [Printing-out paper.] ..a very fine piece of work. On the south side was a large coat of arms with the word 'Welcome' below it. Inside the pandal on either side were beautiful folding screens, and other rich Chinese ornaments...' (unidentified newspaper cutting). In this print a car orderly, or mechanic, has decorated his car and garage with foliage and made an offering of food and drink. [Modern print from original waxed calotype negative, 259x207mm]. This print is accompanied by a long letterpress description. ..our reception went far beyond cordiality. It was a hideous nightmare in its savage enthusiasm' [p.242]. The photograph, taken during the 2nd Wild Wa Expedition and reproduced in Scott of the Shan Hills, facing p.242, shows the road through the village, Scott's house in the foreground with a group of Was gathered in front of it. With the Morbi crest on the side of the vehicle. Duplicate at Photo 752/31 (2). There are also no other photographs of the Reading's visit to Ellora in this collection and this suggests that a photographer was not actually present and that this print was artificially manufactured to commemorate their visit. 95-102). The catalogue entries are preceded by an essay on this form of Indian art as practised in Mithila. The photographs were taken in 1940 by W.G. Archer in the Darbhanga and Purnia districts of Bihar and represent commemorative murals in the houses of Maithil Brahmins and Kayasths. Copy negative nos B.5185-5232. The Diwan-i-Am is to the right, the Moti Masjid in the background to the left behind the Akbari Darwaza.[Modern print from original waxed calotype negative, 467x373mm]. Platinum print. The Maharaja, Tukoji Rao Holkar, is standing on a dais with officials seated round him and the audience seated either side of a central aisle. Print is tightly rolled and torn. After processing past the Viceroy the Ruling Chiefs then proceeded to their prospective camps. Original glass negative, no print. E. Orr; D. Macfarlane; R. Trevor-Jones; Col Maclagan; Col Bayley'. The term 'Leeping' is unknown. W. Barnard, the latter in uniform as Deputy Chief Commissioner of the Madras Scouts.[Gelatin silver print, 131x127mm]. Deeply regretted by all who knew him'. May the Lord have mercy on his soul. Born 28th of June 1806. Died 4th of July 1857'. The two men behind and to the side of Amar Singh are the Resident, Lieut-Colonel A.C. Talbot, and the Lieutenant-Governor, Sir William Mackworth Young. Similar view at Print 49. Sir Louis and Lady Dane are present. The Jewish community's arch is not mentioned in the newspaper descriptions of Lord Elgin's arrival, and it is possible that this view shows the arch erected by the Jewish community in Moulmein at the end of the visit. Lord Curzon and viceregal party are watching the procession from the balcony. It was designed by Sir Alexander Rendel, fabricated by Westwood, Baillie & Co of London and erected by F.E. Robertson, Executive Engineer of the Indus Valley State Railway and his assistant, Hecquet. [?Gelatin developing-out paper, 275x228mm]. Duplicate at Photo 556/3 (53). [Gelatin silver print, 132x77mm]. Colonel A.M. Crofts, Residency Surgeon, stands on the back of the carriage. After meeting the Viceroy, the Maharao joined his carriage for the procession into the city. Duplicate at Photo 430/40 (5). Probably taken at some official function. Some individuals are named: 'the Nawab of Bhopal, Kealy, Squire, self'. The 'jampan' is simply a chair slung between poles for use in hilly country. Lost in the Hooghly, 1897', although the name Arcadia is clearly visible on the side of the ship and as a caption on the negative (bottom right).. Many dead bodies, washed up by the waves, or recovered from the ruins of buildings, were collected and burned near here.' There are 68 original negatives from which this selection of 36 prints have been made, often as enlarged details. The painter Sir William Nicholson spent six months with Hardinge in 1915 in order to complete his portrait for the Legislative Council room in Simla. The large lime kilns can be seen in the distance in the centre of the photograph. [150x83mm]. The occasion was the Prince's visit to the Hyderabad Coaching Club Beside him, in the robes of Vice-Chancellor, stands the the Lieutenant-Governor of Burma, Sir reginald Henry Craddock. Figure standing behind the Prince is possibly Sir Alfred Pickford, commanding the Boy Scouts (identification unconfirmed). L.A. Tottenham's Satchels(11.12.84) & Boots (15.12.84)'. The sepoys are numbered 1-3 with the following descriptions: 'No 1. Front view of satchel with sock boots worn over gaited pyjamah. No 2. Back view of satchel with sock boots worn under gaited pyjamah. [?] coat off to show satchel better & waterbottle. No 3. Sepoy as at present carrying H[?]sack & waterbottle slung across chest & wearing ammunition[?] boots. [Signed] Henry L.C. Tottenham, Colonel, Comdg 38th Regt. BI. Peshawar, 13th Jany 1885'. Hering's catalogue of Beato photographs as No.58 in the section 'India - Delhi (Second Series)'. The description reads: 'The tomb of Brigadier-General Nicholson'. The top one commemorates the participation of the 93rd (Sutherland) Highlanders in the attack on the Sikandarbagh, the middle one commemorates the 4th Punjab Irregular Force and the bottom one marks the spot where the wall was breached. The following are named: 'Dr Peyton, J.R.D.S [Dunlop Smith], Capt Newington & [his dog] 'Brinnie'. On this spot stood the house of massacre, July 15, 1857'. Occasion unidentified. [151x85mm]. See note at print 124.[Gelatin silver print, 131x80mm]. ..' A slightly distant view of the viceregal party gathered in the shamiana (tent with open-sided awning), with military escorts grouped in front. Jamrud Fort is not visible. The ghat and decks are crowded with state officials and court functionaries. Fateh Singh is sitting under a canopy on a raised platform on the barge furthest from the ghat. Duplicate at Photo 448/5 (42) where it's described as the 'Gangore Festival'. By 9am His Highness the Maharaja with his Royal guests were on the scene and having taken up their positions on an elevated platform just opposite the stockade from which an excellent view could be obtained , the signal was given for the drive to begin. The illustration shows the driven herd moving along through the jungle towards the inner stockade'. This print is in the duplicate album, Photo 430/60. This foundation stone was laid by the Hon'ble Lt.Col. H.Wilberforce-Bell, C.I.E., Agent to the Governor-General, Panjab States, on 6th May, 1935'. This is in a group of 8 prints under the heading, 'Laying the foundation stone ceremony of the King George Silver Jubilee Park, Nabha'. [Gelatin silver print, 207x156mm]. Krishna Pillai, Asst. Engineer, Mavelikara Sub Divn. and G. Marini, Contractor, Chengannaur'. Curzon visited the bridge on the morning of Tuesday 31st March during his Spring Tour of 1903. A less clear photograph than the preceding print. on horseback Slightly unsharp. View from above. Platinum print. Taken from a similar view point to the preceding print. Duplicate at Photo 10/27 (248). Duplicates at Photo 10/27 (186), Photo 10/23 (27). See Photo 10/27 (257) for a clearer picture of the throne itself. Decoy cranes are at the water's edge and a flock of demoiselle cranes is flying past. Members of the Viceroy's staff and local European officials are also present and named as follows: 'Capt Pollen, Col Durand, Mr Crosthwaite, Col Law, Capt Adam, Mr Cuningham, Mr B. Smith, Capt Morley, Dr Franklin, Capt Daly'. State officials are lined up on the platform to the left. He passed through Dharampur on his way to Simla at the end of April 1911. Lady Irwin walking behind. Precise location unknown, presumably at Saidu, the capital of Swat. Print undated but probably taken during the Viceroy's tour of October 1926 (see Photo 380/9). Lady Minto is still seated in the carriage.[?Gelatin developing-out paper, somewhat faded, 195x1477mm]. [?Gelatin developing-out paper, 152x101mm]. An attendant stands in the pond a few feet away. A band is on the right. The ruler and his two young sons sit on a dais under a canopy at the far end. The room is full of office-holders, court functionaries, servants, etc. On the left of the dais stands a European political officer in full dress uniform. [Gelatin silver print, 131x81mm]. See note at print 124.[Gelatin silver print, 131x80mm]. A fresh tank is on a wagon in the background. B. Gyan Nath and Lt Harris are identified. Schweizer'. The man on horseback on the right is also mistakenly identified as L.W. Dane. Same party seen at Martand in Print 42. Retainers stand in the background. This photograph appears in John Forbes Watson and John Kaye, The People of India (vol 7, London, 1874) and is there dated 1862. The accompanying letterpress describes the scene: 'This photograph is an excellent illustration of a native independent chieftain of the highest class, in his durbar or court. The young prince sits in the centre of his guddee or royal seat, which is of velvet richly embroidered with gold...Behind him are four servants, two of whom, outside, hold merchauls of peacocks' feathers, and the chouree of yak's tail hair; another, possibly the prince's pan and spice box...In two rows on each side of the Rajah, the nobles and sirdars of the state are seated, who may be relatives, or officers in various parts of the state services'. Another copy at Photo 28/2 (16). Stored separately in Print Room planchest 6C.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Showing flagstaff and massed bands. The royal standard was raised on this flagstaff at the end of the Royal Proclamation and before Lord Curzon's own speech. Duplicate copies at prints 192-195 and 196-199. This panorama duplicates those at prints 185-188 and 196-199. This panorama duplicates those at prints 185-188 and 192-195.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001. 38 in the Lucknow and Delhi section of the catalogue of Beato views published by Hering in London and titled 'Bailee Guard-gate, taken from the inside, showing the Clock Tower'. The Baillie Guard Gate dominates the foreground of the photograph. Hering's Photographic views and Panoramas taken by Signor F. Beato). An original version is at Photo 25(1). See notes with Print 14. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. The dark blotches on this print disguise figures seen in the original (see Photo 27(13)). It may be that Dannenberg, who sold these prints, was trying to pass them off as his own work. The same event is also represented in Print 128 but there the location is given as the Dardanelles. The same event is also represented in Print 50 but there the location is given as East Africa. The caption given beneath the print reads 'The North Fort, showing the line of retreat taken by the remains of the garrison after the capture of the place on the 21st of August 1861.' This caption must refer in fact to print 5 (it is unclear whether the caption was entered incorrectly in the original album, or whether it was accidentally transposed when the album was disbound and the prints remounted). Major Maxwell faces the Viceroy's dais rather than out towards the entrance of the arena.Platinum print. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'The Nubra Valley from Panamik, looking S.E. Buddhist Chortens in foreground.' Hering's catalogue of Beato photographs as No.5 in the section 'India - Lucknow and Cawnpore (First Series)'. The description reads: 'Bridge of Boats over the Goomtee crossed by Sir James Outram at the Capture of Lucknow'. Platinum print. [Gelatin silver print, 140x80mm]. See also following prints. Poor quality print. Four servants are standing in the background with a camera on its tripod on the right. K.C. Thomas, Asst Enginer, 2. Supervisor, Krishna Pillai, 3. L.H.J[acob]'. 10344 and B.10342 represent the middle and right-hand sections, the left-hand section is listed below). Duplicate at Photo 10/13 (15). Probably photographed at Pekin. This is Print 92 in the published catalogue of Beato's China views. Napier commanded a division in China. Photograph probably taken in Pekin. Probably photographed in Pekin.This is Print 90 in the published catalogue of Beato's China views. [Gelatin silver prints]. Photograph probably taken some time after the Tibetan-Chinese hostilities of 1911-12. Presumably photographed at Tuna. 'The march to Lhasa commenced today. As we had been asked to lunch at Tering by the Rajah, we could not make an early start, and so left Gyantse at 9-30 a.m...We were accompanied as far as Tering by mounted escort of M.I. On arrival there at 11 a.m., the Rajah and his family (wife, son and daughter-in-law) conducted us into a nice sitting-room where we sat in easy chairs and sofas round a long low table, and for the next hour or more were regaled with chang, tea, and sweet biscuits. We were anxious to get on with our lunch and resume our march, but these functions cannot be hurried. At length lunch was served...We rose replete about 1-15 p.m., and after some photos the Lhasa party, Gould, Neame, Richardson, Morgan, and Chapman departed, while Salomans, Guthrie, Nepean and Dagg returned to Gyantse.' (Lhasa Mission Diary, 16 August 1936).[Gelatin silver print, 141x92mm]. The figure facing the camera appears to be Tunyik Chempo. The interior and the exterior were profusely ornamented with gold leaf and tinsel, and the whole had a very bright, even gorgeous appearance...' (cutting from unidentified newspaper). Faded print.[?Gelatin developing-out paper, 147x196mm]. Troop of Bengal Lancers at left of print. Although unsigned, the print is probably by Burke. 'Some forty Turkmen, representative of all the districts in Transcaspia, came to see me this morning to appeal for my support in securing for them fair representation in the new government. Most came on horseback, some on camels.'[Gelatin silver print, 122x69mm]. The Governor and party are only visible (and that a distant rear view) in print 239. Events include children's tug of war, musical chairs, relay races, disguise competition, obstacle race, greasy pole. Notes on reverse read: 'E.V.W. [Capt E.V. Whitehead, Assam Rifles?], Ford V8 on Lt, JHFW, Riley'. This is presumably the planned expedition on which Bailey was to have accompanied Ernest Wilton to China. It was cancelled by Younghusband after a mule caravan was attacked by Tibetans. Duplicate at Photo 10/18 (49). This was taken at the same time and location as Print 33, although the building in the background is unidentified. Certain aspects of the site have been described on the print in red ink. The second print, captioned 'self and casket', shows a garlanded Butler examining a silver casket.[Gelatin silver prints]. [Silver printing-out paper]. [Gelatin silver print, 135x178mm]. [Gelatin silver prints, 150x112mm]. [Silver printing-out paper, approximately 245x140mm]. Print stamped 'Enclo. No. 7 to Agent's Finance Letter No. 469 23.7.06'. Names are from left to right- 1. Capt S. Fateh Singh, 2. Major Rao Raja Birindra Singh, 3. Major Dalip Singh, 4. Risaldar Hira Singh'. This is the number officially estimated to have gathered in the Allahabad Kimbh Mela, to take a bath at the Sangam River. On account of Manni Amavas Day this was an unprecedented gathering'. This is the number officially estimated to have gathered in the Allahabad Kimbh Mela, to take a bath at the Sangam River. On account of Manni Amavas Day this was an unprecedented gathering'. This is the number officially estimated to have gathered in the Allahabad Kimbh Mela, to take a bath at the Sangam River. On account of Manni Amavas Day this was an unprecedented gathering'. This is the number officially estimated to have gathered in the Allahabad Kimbh Mela, to take a bath at the Sangam River. On account of Manni Amavas Day this was an unprecedented gathering'. This is the number officially estimated to have gathered in the Allahabad Kimbh Mela, to take a bath at the Sangam River. On account of Manni Amavas Day this was an unprecedented gathering'. This is the number officially estimated to have gathered in the Allahabad Kimbh Mela, to take a bath at the Sangam River. On account of Manni Amavas Day this was an unprecedented gathering'. [Albumen print, 310x172mm, on card mount stamped 'Bourne & Shepherd India']. [Albumen print, 320x190mm, on card mount stamped 'Bourne & Shepherd India']. [Photogravure, 203x254mm]. Guard of honour in foreground. Possibly shows arrival of Sir Hugh Shakespear Barnes, Lieut Governor of Burma 1903-05. Platinum print. The Principal, A.C. Farran, walks at the left. The view shows a bronze statue of Victoria unveiled after a ceremony in front of a colonial building. [?Gelatin developing-out paper, 274x229mm]. Title on plan reads: 'Additions to Fort buildings for Coronation Durbar 1903. Detail of cloth ceiling over open space in Dewan-i-Khas (Supper Room)'. View of the hounds and huntsmen in a field. [?Gelatin developing-out paper, 150x103mm]. Crowds at roadside. Viceroy not visible in carriage. [?Gelatin developing-out paper, 194x147mm]. [?Gelatin developing-out paper, 149x103mm]. [?Gelatin developing-out paper, 275x228mm]. The following individuals are identified: Sir Reginald Glancy, Lord Irwin, Self [Wilberforce-Bell] & B.J. Glancy. [?Gelatin developing-out paper, 198x142mm]. [?Gelatin developing-out paper, 276x228mm]. [?Gelatin developing-out paper, 274x229mm]. Abdur Rahman is at the centre of the group, the Viceroy two horses to the right. 1894), Maharaja of Mysore 1868-94. See also print 62. [Silver printing-out paper, 204x148mm]. Carr; Col Sandbach'. [Silver printing-out paper, 213x153mm]. A very poor snapshot. [?Gelatin developing-out paper, 148x102mm]. Poor quality print. Distant view. Lord Curzon at left of front row. Some individuals are named as follows: 'Mr Squire, Colonel Simpson, Self, Captain Herbert, Captain Lumham, Mr Cunningham, Col Gordon-Walker, Major Neale, Sir John Thompson, Mr Kealy, Colonel Harvey, Lord Irwin'. Possibly shows the Viceroy's departure rather than his arrival. Poor quality print, faded.[?Gelatin developing-out paper, 195x148mm]. The flags of the allied armies fly from the fort. This is Print 19 in Hering's published catalogue of Beato's China views. [Printing-out paper, 189x119mm]. Duplicate (in better condition) at Photo 197 (10). This print also appears as plate 17 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Crossing the Sasser Pass, breakfast above Tooti Aylak, elevation 16,300 feet.' Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 192. No. 6 in Burke catalogue of Afghan War views. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 301x227mm]. [?Gelatin developing-out paper, 278x230mm]. This view looks back towards the position from which print 10 was taken. Three small tears in print surface. No. 12 in Burke catalogue of Afghan War views. See Photo 59/1 (3) for a similar view taken a few weeks earlier. 'The houses on the Praya Grande, Macao, suffered most terribly from the typhoon. The water, rising to a considerable height, completely flooded the ground rooms; and aided the work of destruction. Many of these houses, as those shown on the left of the picture, were rendered complete ruins, whilst the formerly well-kept thoroughfare was converted into a sandy, d�bris-strewn road. A large portion of the wall is shown washed away.' Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 316. 1 and 2 Docks, looking northwards towards the river at an early stage of construction. Duplicate at Photo 59/6 (14). Poor quality. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 262). For another photograph taken at this event, see print 105.[Gelatin silver print, mounted on card, 214x283mm]. See also print 1.[Albumen print, 272x209mm]. Faded print. Faded print.[Albumen print, 265x186mm]. [Gelatin silver print, 85x134mm]. 1 showing work in progress on the double entrance between the dock and the tide basin (on which work has not yet started). Similar view to print 14. Similar views at Photo 268 (11) (with note) and Photo 296/1 (62). Duplicate, in brighter condition, at Mss Eur F138/190(11) The sunga, a stone breastwork, can be seen on a spur further down the hillside overlooking the camp. No. 16 in Burke catalogue of Afghan War views. [Gelatin silver print, 135x79mm]. [?Gelatin developing-out paper, 276x226mm]. Entry in Gazetteer of Afghanistan (p.71, 4th edition, part IV, Calcutta, 1910) reads: 'BIAN KHEL. A village midway between Paiwar Kotal and Ali Khel, on the right bank of the Karaia stream. The village is situated in a ravine of the same name. A camp was formed here in the early part of the 1879 for a portion of the Kurram Field Force.' Robert Bourke, 1st Baron Connemara, was Governor of Madras 1886-90. Lord Curzon appears to be looking directly at, and acknowledging the photographer, who was one of his private guests at the Durbar. (?Edward Tennyson Reed (1860-1933), 'Punch' caricaturist, 1894-1912.) It is possible that this photograph was taken after Lord Curzon's speech, when the heralds approached for a second time to sound a flourish and call for three cheers for the King-Emperor. Compare with print 110. Print stamped 'Enclosure No. 12 to Agent's Finance letter No. 519 dated 22.7.1907'. Print stamped 'Enclosure No. 12 to Agent's Finance letter No. 519 dated 22.7.1907'. Handwritten caption beneath print reads, 'Town and harbour of Suakin, showing the 'New House' occupied by General Sir John Hudson K.C.B. and his staff in 1885', but the photograph may be earlier. Photograph signed 'AZ' in the negative. In the foreground, partly out of the picture, Keppel can be seen greeting Shuja-ul-mulk, Mehtar of Chitral. Duplicate at Photo 437/2 (2). Sir George Roos Keppel, Chief Commissioner NWFP, can be seen shaking hands with the Mehtar of Chitral, Shuja-ul-mulk, in the foreground. Duplicate at Photo 493 (49). 'Victoria Peak is on the north-west of the island of Hong Kong, and is 1800 feet above sea level. Commanding an extensive view, it permits of an excellent look-out for vessels being kept. Signals are hoisted on the approach of vessels, and a gun is fired on the European and American mails being sighted - often two or three hours before their arrival in harbour. Part of the flag-staff and gear was blown down during the typhoon.' [Gelatin silver print, 150x191mm]. [?Gelatin developing-out paper, 151x101mm]. This was the westernmost of the two entrances to the tide basin. With the Gordon Highlanders in front of the dais saluting the arrival of the Viceroy. [Gelatin silver print, 205x130mm]. The typescript note pasted to the back of the print reads: 'Guard of Honour furnished by 1st Bn. East Lancashire Regiment and Royal Indian Marine (on right of Gateway of India facing the photograph) for H.E. Field Marshal Sir Wm. Birdwood on his departure from India. At 'moment' photograph was taken, Sir Wm. Birdwood had just left the Bunder in a launch, ships in background are saluting him. Royal Navy are shown lining the streets'. See prints 23 and 25 for views of the entrance with the swing bridge in position. The Viceroy's quarters are at the end. Welcoming party grouped on either side of the red carpet, with Maharaja Sir Ganga Singh standing at left. A copy of this print was exhibited in Bangkok in 1996: 'The death of three of the youngest and highest-ranking children of King Chulalongkorn in the year 1887 caused great sorrow to the Royal Family and the court. All three were children of Queen Saowapha, who was the mother also of King Vajiravudh and King Prajadhipok. The cremation of the two young princes was a great event in February 1888. Elaborate wooden funeral chariots were constructed in accord with Thai royal custom. The chariots are visible here from some high vantage point east of the Grand Palace en route to the Royal Cremation Ground (called Phra Men or Sanam Luang, in Thai). Prince Siriat Kakutphan was less than two when he died. The King began the construction of Thailand's first hospital from the wood used in these funerals, and gave the hospital the prince's name. Princess Phahurat Manimani died in her eighth year, and the Phahurat Market south of the Royal Palace bears her name. Prince Triphet died only three months after his sister, at the age of six. Although the King had scores of children by his 150 minor wives, the only ones eligible for succession to the throne were the sons of his queens, three of whom were full sisters, and daughters of King Mongkut, and hence half-sisters to King Chulalongkorn' ( Henry Ginsburg, 'Thai Art and Culture. Historic Manuscripts from Western Collections' (British Library, London, 2000, p. 51). Pencilled note on the reverse reads: 'Enlargement of snap taken by Miss Henry, at Lohat. Taken from verandah, the black shadow [in foreground] is the shadow of the house. Taken within about a minute of the gushers breaking out. Two raised ridges are the bubbling sand & water.' Photograph enclosed with Agent's letter 456 of 23 April 1906. [?Gelatin developing-out paper, 277x226mm]. L.T. Jones and Nurses Morgan and Wheatley. The mothers are standing behind cots down one side of the ward. There appears to be a dhoolie on the left with presumably Indian stretcher bearers. Although unattributed this print resembles others taken by Burke during the Afghan War. L. Marsh on duty. Frederick, eldest son of Robert and Anne Drummond, died in 1856, aged 9 months. Robert Drummond was magistrate at Agra during the Mutiny. Small faded print. Possibly a workshop of the East Indian Railway. [?Gelatin developing-out paper, 149x103mm]. Half-tone reproduction in two parts. [Printing-out paper, 289x205mm]. [Printing-out paper, 186x119mm]. This print forms half of a two-part panorama of the scene (other half at print 22). Print signed A.S. Buckle on reverse, possibly the photographer. Stamped on reverse 'Enclosure No. 4 to Agent's Finance Letter No. 494 dated 21.1.1907'. The solitary European figure standing on the dam is probably Colonel Muspratt-Williams. Distant view of the Viceroy accompanied by the Chief Justice Sir Shadi Lal. It has been convincingly argued (see note and reference at Photo 27(2)) that Beato undertook some creative re-arrangement of bones in order to increase the dramatic impact of this image. The exclamatory caption to this copy would tend to reinforce that interpretation.Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 305x248mm]. Duplicate at Photo 430/3 (33). See also print 76.[?Gelatin developing-out paper, 276x228mm]. [Printing-out paper, 282x198mm]. The buildings had by this time become the Bengal Secretariat. with the palace on the hillside in the background. [Gelatin silver print, signed 'Holmes' and captioned in the negative, 294x217mm]. This possibly relates to the siege of the British Legation in Tehran in 1906, when a large number of Persians took sanctuary in the British compoubd (see Photo 851/2, prints 64-65). Print in poor condition, faded and torn.[Albumen print, 212x272mm]. Date and occasion unidentified, but probably connected with the extension of the water pipeline from the Pool of Solomon into Jerusalem. Print has 'American Colony, Jerusalem' written in the negative: this may refer to a photographic company. See also Photo 92/5 (60). Handwritten caption beneath print reads 'Scene in the town of Suakin 1885', but the photograph may be earlier. Photograph signed 'AZ' in the negative. All figures are too blurred through movement for identification, but this may be a scene taken during the Viceroy's visit to Peshawar. The photograph is probably by Baker & Burke, but perhaps omitted from their catalogue because of the poor quality of the image. For another copy of this print, see Photo 752/12 (24).[Albumen print]. The copy of this print in Mss Eur F157/819 gives the location as the Rongnye Valley. [Gelatin silver print, 98x72mm]. With Burmese audience in foreground. [Gelatin silver print, 131x81mm]. A somewhat faded print. [Printing-out paper, 187x116mm]. [Printing-out paper, 192x121mm]. The further gate is in position and the lock itself is largely completed. The 60 foot entrance lay to the east of the 80 foot entrance. [Gelatin silver print, 204x151mm]. The rider, approaching the camera along the riverbank, is fairly distant. For another view of this scene, see Photo 92/1 (57). [Gelatin silver print, 205x138mm]. Print stamped 'Enclo. No. 7 to Agent's Finance Letter No. 469 23.7.06'. [Gelatin silver print, 205x130mm]. [Gelatin silver print, 136x205mm]. [Gelatin silver print, 204x122mm]. [Gelatin silver print, 205x150mm]. [Gelatin silver print, 205x142mm]. [Gelatin silver print, 204x143mm]. See also Photo 92/6 (47). With British and Indian officials seated in rows on either side. The view is probably looking along west side of Dock No. 1. [Gelatin silver print, 131x77mm]. A rather dark print. Another copy at Mss Eur F197/653 (3)[?Gelatin developing-out paper, 275x227mm]. Duplicate at Photo 10/27 (189), there wrongly captioned Mandalay. [Gelatin silver print, 204x150mm]. [Gelatin silver print, 202x115mm]. Part of the dome of Skinner's Church (St James's) can just be seen in the background. [Printing-out paper, 290x200mm]. For an account of this action, taken by Scott in response to signs of a Wa coalition against the British and their refusal to meet him to discuss future relations, see G.E. Mitton, Scott of the Shan Hills (London, 1936), pp.235-42. The 'Esmeralda' is in the foreground. Possibly by Pearson & Paterson. [Gelatin silver print, 204x105mm]. [Gelatin silver print, 205x146mm]. [Printing-out paper, 191x122mm]. [Gelatin silver print, 140x80mm]. [Gelatin silver print, 205x131mm]. Reproduced in Francis Younghusband, India and Tibet (1910), p. 160, and there captioned 'Column crossing the Tang-La, January, 1904.' This forms the left-hand half of a panoramic view with print 16. With the following identifications beneath print: Harold Wilberforce-Bell and Lalage, Bowen, Davy & Deborah, Ranking, Peter Brooke and Mrs T. [Gelatin silver print, 91x58mm]. [Gelatin silver print, 140x80mm]. The path alongside the tennis court is decorated with flags in honour of the visit of Sir George Keppel to the Mehtar of Chitral. [?Gelatin developing-out paper, 275x229mm]. [Gelatin silver print, 199x123mm]. [Albumen print, oval vignette, 100x72mm]. In the centre of the fourth side, the Bishop of Calcutta, the Right Revd Edward Ralph Johnson, reads an address, with Lord and Lady Dufferin standing behind. This is probably taken during the Lord Minto's visit to Burma in 1907. Another copy at photo 190/2(6).[Printing-out paper, 199x143mm]. Keppel, the Nawab and an unidentified British officer are seated on a platform raised above the other participants, who are arranged in a square in the courtyard. Other copies of this print in the collection are entitled 'Funeral of the Maloon Princess'.[Albumen print, 271x204mm]. The two pipers who head the are followed by (later Field Marshal Sir) Claude Auchinleck. Bayley's official diary for 23 September records: 'Seventy-five men of the 62 Punjabis under Lieutenant C.J. Auchenleck [sic] arrived to-day.' [Gelatin silver print, 293x225mm]. Poor quality print.[Gelatin silver print, 108x73mm]. Photograph signed and dated in the negative. Another copy at Mss Eur F197/653 (1).[?Gelatin developing-out paper, 277x229mm]. [Albumen print, in fair condition apart from fold down centre, 350x258mm]. Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001. The Maharaja of Jaipur is silhouetted at the front of the guests' enclosure. Letterpress continues: 'Picture to yourself a busy hive of myriads of human beings herded together in closely-packed dwellings, bartering, bickering and blustering and going through the daily routine oof everyday life, in Canton, and a canal crowded with boats so that it is almost impassable, - with scarcely a moment's warning, with no open fields within miles of them, and densely-built streets not more than 10 feet wide with hustling jostling crowds in them, and then imagine the whole scene reduced to a heap of ruins by one fell blow, and you have the reality of what occured on the scene depicted above. Numberless marvelous escapes were doubtless made, but if hundreds managed to escape, thousand must have perished. The canal was filled with debris and the boats swamped, their inmates being crushed to death or drowned, and the whole waterway was filled up as though it had never existed.' Faded print. [Printing-out paper, 187x120mm]. in the foreground, with Fenton's Hotel beyond.[Printing-out paper, 197x140mm]. [Printing-out paper, 192x121mm]. The figure giving the speech, seen somewhat distantly, has not been identified with certainty, although the notes accompanying the photographs name him, surely incorrectly, as Sir Herbert Thirkell White.[286x213mm]. Double exposure? [Printing-out paper, 187x121mm]. Caption note reads in full: 'This is a Burmese arch, on Soolay Pagoda Road, south of the Pagoda, erected for the coronation celebration of King Edward VII, at Rangoon, on 1st January 1903. The picture on top is that of Lady Fryer, wife of the Lieut. Governor of Burma. The view on the other side shows Sir Fred. Fryer.'[Printing-out paper, 152x114mm]. This photographs joins with print 159 to form a panormaic view of the durbar arena. This print also appears as plate 33 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Verandah of Inner Court yard of the Urda of the Dadkhwah of Yarkund, showing the Hall of Audience.' A gilded throne carried on poles by retainers stands in front of the platform.A copy of this print was exhibited in Bangkok in 1996: 'King Chulalongkorn's eldest son by Queen Sri Sawarinthira was called Maha Vajirunhis. He was named Crown Prince when he was nine. Up to that time there had been no official appointment of a successor to the throne, which caused many deadly rivalries among the numerous claimants in previous centuries. Crown Prince Vajirunhis dies in 1895 when he was only sixteen, and the succession then passed to the next eldest prince of rank, who in 1910 ascended the throne as King Vajiravudh' ( Henry Ginsburg, 'Thai Art and Culture. Historic Manuscripts from Western Collections' (British Library, London, 2000, p. 50).[Albumen print, 250x197mm]. 2 Dock and Tolly's Nullah. Railway line in foreground. Photographed during the course of the durbar.[Albumen print, 317x185mm, on card mount stamped 'Bourne & Shepherd India'].Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. The Nizam can be seen in the central group. An official inthe foreground reads an address to the Viceroy. This photograph was taken on the occasion of the Duke of Edinburgh's visit to Penang. Print in poor condition, yellowing and torn. The royal party are ascending the steps of Government House, the portico of which is crowded with dignitaries. Platinum print. [Sepia toned bromide print, blid-stamped 'Vernon Photo Bombay', 349x269mm]. 'The western part of the city of Victoria, shown in the above sketch, consists chiefly of native houses. The destruction here was very great. Houses were unroofed, or their walls blown down; whilst in several cases they were levelled to the ground, burying the inmates beneath the ruins. The d�bris of houses and many uprooted trees are shewn in this sketch.' [Printing-out paper, 310x250mm]. [Printing-out paper, 288x201mm]. [Gelatin silver print, 213x150mm]. [Printing-out paper, 285x199mm]. Platinum print. Flags and other decorations for the opening ceremony visible. [Gelatin silver print, 131x81mm]. [Printing-out paper, 191x121mm]. See print 29 for a view of the permanent Sittang Bridge. Photograph enclosed with Agent's letter 456 of 23 April 1906. Faded print. A large group of Arabs is on the right. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 357, there titled, 'Leaving Trenchabad.' The date of Zetland's departure from Trenchabad is given as 10 December. See notes with Print 2. The print is very grainy and of generally poor quality. Better photograph of same event at Print 16. A central pole is supported by four legs, one side having a ladder attached leading to a rough platform at the top. The nature of the device is unknown. See notes with Print 1. See notes with Print 2. See notes with Print 2. An annotation on the mount reads: 'Negapatam-Trivatore opened 15/7/1861'. Jaipur State soldiers, called Nagas, are recruited from this sect. L.T. Jones is sitting centrally at the table on the right. This is probably in London when Jones was on furlough. They are possibly planters assessing the quality of the crops. Original glass negative, no print. The rider is Prince Ferdinand Joseph. A note on the top left of the page names the VIP's in the pigsticking party as: 'P[rince] Ferdinand Joseph, P[rince] Joseph Ferdinand, Count Hoyoz [and] Count Wilchejk'. Named, 'From left to right. K. Maha Dev Singh Ji; Sadiq Ullah Khan; Dhabai Ram Partap Ji; Capt Vikram Singh Ji; Lt Col Dhabai Ganeshi Lal Ji, CIE; Th. Narendra Singh Ji; Lt Col Sansar Chand Ji Bahadur; Miss Hamilton Deane; Rao Raja Amar Singh Ji; Mrs Campbell; Col Abdul Rehman Khan; Th. Sultan Singh Ji; Col Pooran Singh Ji, Sardar Bahadur; Mrs Caroe; Th. Tej Singh Ji; Mrs C.H. Gidney; Major W.F. Cambell[sic]; Mr Gidney; Capt K. Ram Singh Ji; K. Shyam Singh Ji; Khan Nasrullah Khan; Khan Fazal-i-Elahi Khan; K. Daulat Singh Ji; Lt Raja Habib-ur-Rehman; Bhanwar Rajendra Singh Ji; Mr J.S. Thomson; K.B. Ruh Ullah Khan; Mr Chatterjee; Safi Ullah Khan; Mr O.K. Caroe; Sardar Mohd. Alam Khan'. See notes with Print 2. See notes with Print 2. He appears to be holding a line. 'Cookson, Rupji [and] Sconce' are identified. Caption taken from R.B. Holmes' catalogue General List of Photographic Studies and Views from the Studio of R.B. Holmes & Co, Photographers, 42 The Mall, Peshawar. Sir Charles Aitchison is sitting behind the speaker. Charas is described in the glossary of the Imperial Gazetteer of India (1909) as 'The resin of the hemp plant...used for smoking', although this view clearly shows an elephant carrying leaves of some sort. A fifth man is on guard with a rifle. [Albumen print, 306x184mm, on card mount stamped 'Bourne & Shepherd India']. [Albumen print, 315x183mm, on card mount stamped 'Bourne & Shepherd India']. The chair is hidden by a curtain. Lady Hardinge of Penshurst'. The tower is at the right. No. 37 in the Lucknow and Cawnpore section of the published catalogue of Beato views, entitled 'The Residency, taken in front, and showing the Room in which Sir Henry Lawrence was killed'. 30. Every one who can raise a dress is expected to attend'. Two state elephants are in the centre of the view, one of which carries a European (Resident?). A railway trolley with two Europeans on board is on the bridge. The name 'Weightman' appears above the print suggesting that he took the photograph. [Gelatin silver print, 214x85mm]. Original glass negative, no print. The carts are fitted with Dunlop tyres. [Printing-out paper, 161x111mm]. One of the series of views taken by Simpson and marketed by Bourne & Shepherd.[Albumen print, signed 'B. Simpson 4' in the negative, 286x207mm]. Murray and a group of Indians are posed beneath it. Small faded print. [Albumen print, 214x160mm]. [Albumen print, 308x163mm, on card mount stamped 'Bourne & Shepherd India']. Sitting in the carriage are Mrs Lawrence, Lady Beatrice Clementina Aitchison and an unnamed woman. Standing in front are, from left: Dr Roe, Lady Gertrude Aitchison, Lady Marion Aitchison, Baron de la Grange and Jemadar Hirsa Singh. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 8, there titled, 'A land that is kissed, not scourged, by the sun.' Possibly by Pearson & Paterson. V.S. van in a yard, parked next to a Ramnad Transport Ltd bus. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 184. Similar to Print 102. [Printing-out paper, 190x120mm]. [?Gelatin developing-out paper, 280x225mm]. [Gelatin silver print, 140x80mm]. [Albumen print, numbered '32' and dated '28.9.88' in the negative, 281x240mm]. [Printing-out paper, 190x123mm]. [Printing-out paper, 192x122mm]. [Printing-out paper, 195x124mm]. [Silver printing-out paper, signed 'Watts & Skeen' in the negative, 207x156mm]. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 254, there titled, 'Leaving Kashmir Kar.' The date is given as 27 October. [Gelatin silver print, 140x80mm]. [98x74mm]. Probably one of the series of views by Baker & Burke illustrating the visit of Lord Mayo to Peshawar in 1870, but not listed in their catalogue, possibly because the figures are blurred. For another copy, see Photo 50/1 (68).[Albumen print]. The identity of the Viceroy is unknown (Elgin or Curzon?) but the location is probably Jaipur. Duplicate at Photo 114 (28). This negative is most probably a copy of a photograph by W.H. Skeen & Co who took a series of views at the event. Copy glass negative (fragile), no print. Duplicate at Photo 114 (27). [Printing-out paper, 291x200mm]. [Gelatin silver print, 206x134mm]. Photograph signed in negative 'J.A.D.L.' In the foreground a bullock is pulling a millstone round a pit, although it is unclear what substamce is being ground (lime for mortar?). Possibly by Tanner. A band is playing in the background. The Maharaja and Lady Curzon are standing beneath a canopy on the right. [Printing-out paper, 373x122mm]. [Printing-out paper, 373x122mm]. [Printing-out paper, 159x109mm]. [Printing-out paper, 190x121mm]. Possibly by Pearson & Paterson. Gandhi can be seen to the right of Ramsay MacDonald.[370x246mm]. Caption on reverse reads: 'First arrivals from Kabul, Peshawar, December 1928. Gales writes (see notes in Introduction): 'For sinking the last lengths of wells, and for wells in the cold-weather channel, four gallows were constructed to stand on the masonry of the wells'. Unsharp. The durbar is described in Scott's diary for 22 May 1889: 'Arrangements for the durbar all the morning. Good deal of rain all the morning, but faired up pretty well. Chiefs all in good time. Tonnochy drew up every available man as a guard of honour. Troops presented arms, general salute, bugles, etc, while I walked in in solitary state. Had considerable effect on the bounders - even old Yonghwe who was quite respectful for half an hour at least. Durbar speech listened to with considerable attention considerably to my discomposure. I had not expected it judging from previous efforts. Allusion to the [?]Nying On Prince however broke the spell and there were interpellations and interruptions immediately. Yonghwe ludicrously delighted with his sword of honour and was [?]paraded about making cuts and thrusts in his boyish fashion to everybody's amusement. Rest were more or less pleased. Then Muntz with my camera took three views in succession, 2 mins, 40 secs and 10 secs (out of focus but all about the same treated with diff. developments). Then had some slow drill on the parade ground and eventually got them all bundled off. Developed photos all the evg. Tremendously steady downpour which found out weak places in the roof. Durbar on the whole a success.' (Diary for Feb-Dec 1889, Mss Eur F278/4, p. 33). Duplicate at Photo 92/5 (60).[Albumen print, 184x118mm]. First pair of elephants (at right) carries Maharajas of Bundi and Indore, the second pair Bikaner and Rewa, and the third pair Kota and Orchha. Faded print. First pair of elephants (right), carries Maharajas of Hill Tippera [Tripura], 2nd pair Rampur and Kapurthala, 3rd pair, Benares and (?)Simna. First pair of elephants (right of centre), carries Maharajas of Sikkim and Bahawalpur, 2nd pair, Kuch Behar and Nabha. Similar to print 24. Caption on the print reads: 'Bivouacing'. Caption on print reads: 'Entrenched'. Caption on the print reads: 'Entrenched'. The following are named: 'His Excellency Sir Frederick John Burrows, GCIE, Governor (Centre). Mr J.D. Tyson, CSI, CBE, ICS, Secretary to Governor (Back). Mr F.O. Bell, OBE, ICS, District Magistrate; Mr E.W. Holland, CIE, ICS, Commissioner; Mr S.N. Sen Gupta, SDO (S); Khan Sahib Mir Hussain, SDO (N) (Left of H.E.). Mr Ashutosh Banerjee, Office Superintendent (Right of H.E.)'. Some individuals are named as follows: 'Cunningham, Gyan Nath, Self, Mrs Fitzpatrick, [the Viceroy] Lord Irwin, the Nawab, Fitzpatrick, Harvey'. In front of the building stands an altar on which are placed four religous images. Various religious banners are also displayed on the front wall of the temple. This print also appears as plate 15 of Sir T. D. Forsyth's 'Report of a Mission to Yarkund in 1873' (Calcutta, 1875), entitled, 'Buddhist temple at Panamik, Gods of the Buddhists. 1. Chakna Durge. 2. Sangias Shukia Tuba. 3. Pakpa Chingre Zik. 4. Dekhna Karpo, goddess. Second copy neg at B.7368. Possibly by Pearson & Paterson. Colonel Walter Fane raised Fane's Horse for the China Campaign 1860. [Printing-out paper, 151x181mm]. [Printing-out paper, 186x117mm]. [Printing-out paper, 285x207mm]. [Printing-out paper, 190x119mm]. Probably taken at the time of the Tirah Campaign. Note by Dr Rich (Indian Police, Punjab) accompanying print reads: ' The guest of honour is the Maharaja of Kapurthala State, seen seated between the Viceroy and Lady Linlithgow. The Maharani is on the Viceroy's other side, next to Sir Bertrand Glancy, Governor of the Punjab. 5th on the right is Mr Sheepshanks, Commissioner, Jullunder Division. 3rd on the right is Gilbert Laithwaite, Private Secretary to the Viceroy. 3rd on the right, with back to camera [nearer side of table], is Mr J.A. Scroggie, DIG, Jullundur Range.' The following figures (all somewhat distant) are identified (left to right): C.P. Skrine, Nawab Asadullah Khan Raisani (chief sardar of Sarawan), Col. Abbott, Gen. Sir Torquil Matheson, the Khan of Kalat, the Viceroy, Mir Ahmad Yar Khan.[Sepia-toned print, 205x139mm]. Abinash Chunder Sen, CIE; Margaret; C[harles Stotherd]; Rai B. Paropit Gopi Nathji, CIE'. Small faded print. Duplicate at Photo 481/2 (20). A faded print. [Printing-out paper, 185x1234mm]. Another copy at Mss Eur F197/653 (63).[?Gelatin developing-out paper, 275x227mm]. OIOC does NOT hold the copyright to this photograph. [Photogravure, 148x115mm]. J. Cotton and another man sitting at a table inside the temple with servants in attendance and possessions scattered on the floor. [Platinum print.] [Printing-out paper, 190x117mm]. [Gelatin silver print, 205x152mm]. Different dates given for this and other photographs of the same occasion. Possibly the same procession seen in Photo 430/36 (19-20), photographs attributed to Gobindram & Oodeyram. Duplicate at Photo 15/5 (3). 'The Viceroy, The Maharaja, J.R.D.S. [Dunlop Smith], Mr Louis Dane' are identified. Duplicate at Photo 50/1 (56). British officials include Dr Bellew, Owen Tudor Burne, Sir Frederick Pollock, D.C. Macnabb, Edward Burke and Thomas Thornton. Photograph reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 35. Duplicate at Photo 430/47 (14). A cin� cameraman can be seen in the left foreground.[Silver printing-out paper, 300x212mm]. Faded print.[Gelatin silver print, 129x78mm]. Duplicate at Photo 578/4 (34) where it's described as 'Disinfecting clothes'. Small faded print. Typescript notes read: 'Taken from our camping site as seen in (21) and (22) [Prints 29-30]'. Typescript notes read: 'The ponies reached here while we were lunching, so I got up and snapped them. Aru village seen in distance at extreme right'. Size of shed 100'-0'' long x 75'-0'' wide x 25'-0'' high. Main driving shaft fitted with sh[?] ball bearings'. The location is unknown but is probably outside the state capital, Nandod. [Silver printing-out paper, 288x206mm]. Duplicate at Photo 114 (8). Precise location uncertain, presumably a return to Red Idol Gorge, ie Zamtung Gorge. [Printing-out paper, 189x123mm]. Note on negative reads: 'Towards Dargai Oba'. See notes with Print 2. The name 'Weightman' appears above the print suggesting that he took the photograph. [Printing-out paper, 189x120mm]. Two military officers are sitting in a rowing boat in the foreground. Print captioned '1889-94'. Caption continues: 'Waiting in the grounds of Government House for the boat race of Burmese girls on the North City Moat, got up between Captain R.C. Temple (green ensign) and Mr E.C.S. George, (red ensign), 26th December, 1889. The boat moored in the Moat is the winning post. Mr George is standing watching the race start down the course marked by flags (three quarters mile). The unfurled flag in the boat shows that the start has been made. Captain Temple's boat won easily. On the jetty, central, group, are H.R.H. The Duke of Clarence and Avondale, Sir Charles Crosthwaite, Lord Claude Hamilton, Captain Holford and Captain Temple. In the left foreground stands the Kinwun Mingyi, The Taungwin Mingyi, the Mandalay Myowun, the Tabayin Wundauk and other ex-ministers of King Thibaw. In the right foreground is the band of the Hampshire Regiment. Instantaneous photograph by Beato.' Duplicate at Photo 296/1 (62). This print is reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.246. For a note on the visit, and another photograph taken on the same occasion, see Photo 92/1 (65). See also print 13. Platinum print. Duplicate at Photo 114 (27). [Gelatin silver print, 204x150mm]. Duplicate at Photo 682 (83) where Pearson & Paterson are given as possible photographers.[Albumen print, 213x161mm]. [Printing-out paper, 151x108mm]. This is Print 42 in the published catalogue of Beato's China views, and is there titled, 'Shops and street - Chinese City of Pekin, October, 1860.' This is Print 36 in the published catalogue of Beato's China views, and is there titled, 'Street and shops in the Tartar city of Pekin, October, 1860.' The well is being weighed down with old rails and pig-iron. Well No 8 was the only well completely sunk in the first working -season. Younghusband stands in the foreground in the judge's box, a rudimentary affair constructed from a few branches. Duplicate at Photo 114 (6). Duplicate at Photo 114 (7). Lady Ramsden standing on the left? Typescript notes read: 'Some of the new houses at Pahlgam just visible looking down the river'. Unsharp. See notes with Print 1. Beyond it is the British Empire arch (see prints 3-6).[Printing-out paper, 110x160mm]. Europeans in formal dress. Several guests are named: Hunt (25th Lancers), Miss Shuttleworth, Roche, Mrs Hume, Bill, Mrs Conyngham[?], Graham (121st Pioneers), Major Baist[?] (29th), Mrs Fanshawe, Martin (RAMC), Wright (ASC), Thompson, Griffiths (107th Pioneers), Mouat (26th Lt.Cavalry), Mrs Forteath[?], Boyd (RE), Miss R Hume, Wickham, Massy (12th Pioneers), Studdy (34th Poona Horse), Miss Warden, Carpendale, Mrs Yeldham, Hume, Comyn, Dickson. See also print 9. This is Print 13 in the published catalogue of Beato's China views, and is there titled 'Interior of the Angle of North Fort immediately after its capture, August 21st, 1860.' The four Dominion Columns were presented by Canada, South Africa, Australia and New Zealand, and each is crowned by a gilded bronze model of a ship. N.W.R. locomotive on the right.[Gelatin silver print, 205x153mm]. [Gelatin silver print, 202x130mm]. J. Cotton, sitting at a table outside his tent with a man displaying a cheetah hide. A much faded print. Reverse of print stamped 'Enclosure No. 12 to Agent's Finance Letter No. 625 dated 13.9.1909'. The speaker appears to be Sir George Scott, a retired administrator of the Shan States.[Gelatin silver print, 235x195mm]. It was placed on the inscribed base in the grounds of the church in 1883.[Gelatin silver print, 82x132mm]. [Gelatin silver print, 194x141mm]. [Albumen print, 205x154mm]. Reproduced as No 3 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Gales writes (see notes in Introduction): 'The gallows used for the first 70 or 80 feet of sinking consisted of three pairs of sheer-legs, standing on sills on the sand, with a 14-inch by 14-inch balk across the top, from which the dredgers were slung. The sheer-legs were 60 feet in length, made up by splicing, and it was therefore possible to build full lengths of masonry and sink them without shifting the sinking gear at all, thus effecting a saving of much time and money'. Some individuals are named as follows: Thakur Saheb of Chuda, Raja of Baria, Raj Saheb of Vankaner, Dewan of Palanpur, Maharaja of Kolhapur, Maharaja of Panna, Mrs Merewether, Miss Impey, Mrs Wood, Margaret [Wilberforce-Bell], Mr Sladen, Major Wood, Capt Morse, Self, Capt Meek, Major Strong. His tent is at the top and bearers holding his fishing tackle are in the centre. Outside stands a wooden post, presumably used by the Khonds during sacrificial ceremonies. [Gelatin silver print, 204x149mm]. 'C.E.S., Impey, HH [the Maharaja of Jaipur], Irwin, Col Jacob [and] Crosthwaite' are identified. Isherwood; W. Whalley; Hon G. Curzon, MP [and] C. Scarisbrick'. Lord Curzon and other guests are sitting behind him. [Gelatin silver print, 132x79mm]. Charles Stotherd's brother, Edward, is identified at the head of the Escort. ..a bird of good omen. The barge was beautifully decorated with gold tinsel, and inside it were gay curtains and dainty chairs, whilst for Their Excellencies two golden thrones had been provided. The roof of the barge, also done in gold, resembled the dome of a pagoda, and altogether it was a thing of beauty' (unidentified newspaper clipping in Photo 10/27 p.59). The barge was towed by boats around the Government House moat during the party. The barge had previously been used to entertain the Prince of Wales when he visited Burma in January 1922 (see Photo 10/1). The viceregal party watched the Burmese boat races and sports on the lake from this barge. [Gelatin silver print, 135x79mm]. 'This view exhibits the means by which the Alaska was got off. Five large pontoons, to which were attached heavy wooden supports, were placed on each side of the steamer. The rising tide elevated the pontoons, which, by means of the supports, helped to lift the vessel. The Alaska was safely floated on the night of the 22nd December, 1874. Captain Roberts, of Shanghai, did the work, at a contract price of $35,000.' Reproduced as No 6 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Due to the uncertain political situation, the Viceroy had been advised not to make this open procession through the streets, but in the event there was no attempted assault (see Mary, Countess of Minto, India, Minto and Morley, 1905-11 (London, 1934)). Probably the State Entry of 23 December 1912 in which a bomb was thrown at the Viceroy. Probably the State Entry of 23 December 1912 in which a bomb was thrown at the Viceroy. The 'Jama Musjid, The Heralds [and] Fort' are identified below the print. Duplicate at Photo 430/40 (31). Other copies at Photo 98 (22) and Photo 449/1 (26). One locomotive has been derailed and has tumbled down the embankment, another stands on top of the bridge. Figures posed for the photographer are identified as Browning, R.H.H., Ward, J.W.W. and Nicholson. Precise location of Satarampore (?Bihar) not identified. Another view of the sam scene at print 40. The raised area in the background indicates the position of the Viceregal dais and the spectators' wings. Photograph unsigned, but probably by Baker or Burke. Photograph tentatively attributed to John Burke in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), pp. 58-59.[Albumen print, 290x217mm]. The viceregal carriage has just arrived at the foot of the steps. A somewhat distant view of the proceedings. [Albumen print, 316x186mm, on card mount stamped 'Bourne & Shepherd India']. [Gelatin silver print, 205x135mm]. [Albumen print, oval image, 120x94mm]. [Gelatin silver print, 206x123mm]. Crowds present in Print 1 appear to have dispersed by the time of Curzon's arrival, unless this print precedes Print 1 sequentially and therefore the crowds have not yet arrived. A rather dark print.[?Gelatin developing-out paper, 152x102mm]. Larger duplicate of 119. [Printing-out paper,, 154x113mm]. [Printing-out paper, 160x112mm]. The labourers include women and children. [Gelatin silver print, 119x69mm]. Possibly by Pearson & Paterson. [Gelatin silver print, 98x73mm]. The royal couple passed through Quetta when opening the Louis Margaret bridge at Chappar Rift on 27 March 1887. [Albumen print, 275x188mm]. Scene may have been staged for the camera. Named as: 'Partab, Daulat [and] Mahtab'. Poor quality snapshot with an unnumbered copy negative. The Viceroy's launch can be seen at her moorings in the distance. The photograph has the following inscription on the back of the mount: 'Well come His Excelency [sic] Lord Curzon in Goa. View taken by the undersigned in 1884 of His Excelency Lord Ripon while leaving Old Goa at Caes dos Vice-Reis. His Excelency Lord Curzon kindly favoring the undersigned with a group or view at Colem Station (W.I.P.Ry) will humbly wait with his old camera. Your Lordship's most obedient servant, Joseph J. Pereira. Margao 10-11-1900.'[Collodion printing-out paper, 142x87mm]. See also Photo 448/1 (10). [Gelatin silver print, 123x68mm]. [Gelatin silver print (modern print, 193x112mm]. This is Print 25 in the published catalogue of Beato's China views, and there titled, 'First view seen in Pekin, taken from Anting Gate.' Includes players on the course and the meal after. The church is unidentified. (Is the building the Tyndale-Biscoe CMS School?).[Silver printing-out paper, 291x205mm]. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 130. [Gelatin silver print, 153x200mm]. [Albumen print, 96x137mm]. [Gelatin silver print (copy print), 143x113mm]. Probably the photograph listed in the Baker & Burke catalogue as 'Lord Mayo and Party returning from Kohat, taken in Kohat Pass at a Khore'. Duplicate at Photo 50/1 (61) and at Mss Eur F197/37 (43).[Albumen print]. One figure is seated writing at a desk in front of his tent, with various pieces of surveying equipment laid out on the ground around him, while his companion is posed in the act of adjusting a theodolite mounted on a heavy stand. On the right, a 'military map of Hazara' is prominently displayed a camp chair. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. A duplicate of this print at Photo 499 (2) is numbered 'L21' in the negative which probably corresponds to number 21 in H. Hering's list of Beato views: 'A Gateway leading into the Kaiserbagh'. See Introduction to Photo 499 for notes on the negatives. Annotations on the reverse read: 'Lord Roberts has on right, the Thathanabyen, on left, a Burman (in white), then the English missionaries'. Asterisks at the top of the print are in line with 'H.F.S.R. [Herbert Ramsden], Col Baker [and] Rev F. Hill'. If the date is correct then it is unlikely Hooper took the photograph as he is believed to have left Burma in 1886. In the foreground is a large group of European children and ayahs. In the background is a large mound of stones. This is possibly being prepared for road building. The caption on the verso reads: 'Governor addresses jirga of Masuds at Sararogha'. However, Cunningham was the Governor of the North-West Frontier Province from 1937 and this print is dated 'Spring 1933'. Either the date is incorrect or Cunningham was there in his capacity as Member of the Council of the Governor of the North-West Frontier Province. A crushed bike is visible in front of the car. The events of this and subsequent days were a result of the government crackdown on the Indian National Congress's Civil Disobedience campaign inspired by Mahatma Gandhi and taken up in Peshawar by Abdul Ghaffar Khan who formed the Khudai Khidmatgar, or Servants of God, an army of volunteers dedicated to non-violent struggle. The photographer's signature is on the tent in the lower left of the print. , Photographers. Party named as: 'Major Booth-Wilbraham, Military Secretary; D.S.P. [Colebrook]; Sgt Major Stewart; His Excellency; Sgt Crutchly; Capt Goschen [and] Capt Craster, ADC's'. On the opposite side are various shopfronts including that of the photographic firm, Devare & Co. The location and identities of the people are unknown. [Gelatin silver prints]. Another copy of this photograph can be found at Photo 1143/1 (3), dated January 1871 and with location given as 'Daoodzaie.' Slightly unsharp. M.S. Chatham, moored at a ghat on the Hugli at Calcutta. Irma Bailey (white dress and umbrella) is in the centre. [Silver printing-out paper, 239x190mm]. A similar print, reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.235, is captioned 'The meeting of the Pet Ken (Wa chiefs). The interpreter is reading the Letter of Appointment. Note the singular old man with the goatee just behind him. The canopy at the back is for an open-air bath'. Part of the Holmes series of views entitled With the Wana Column in Waziristan. Named from left: 'Mrs Thorp, RAE, Thorp, Miss Vickers, Mrs Goodwill, Dr M. Ellis, Miss Vanes, Nightingale, Miss Perry, H. Spencer, Miss Cooke'. B. Gyan Nath and other official guests having tea. This is in a group of 8 prints under the heading, 'Laying the foundation stone ceremony of the King George Silver Jubilee Park, Nabha'. Duplicate at Photo 1/20 (33). F. Parkins, Captain A.H.E. Mosse, Major W.M.P. Wood, Major H.W. Berthon (?), Lt Col F.W. Wodehouse, the Nawab of Palanpur, the Maharaja of Kolhapur, Sir George and Lady Clarke, Sir John Hewett. E. Sir Henry Craik, Sir Sikandar Hyat, Sir Sirdar Singh Majithia, Sir Chhota Ram, Sir Shahabuddin, Harold Wilberforce-Bell, Sir James Addison, Cranston. Stanley (Indian Police), Major Sareb (11th Lancers), Mr E. Proctor-Sims, Mr Hugh Davy Rendall (Administrator), Harold Wilberforce-Bell, HH Minor Nawab of Junagarh ('Mahabath'), Sheikh Mahomed Iman, Mahabath's maternal grandfather. The pumping engine house, here seen in the course of construction, stands between the two docks at the north-east corner of the tide basin. Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. [?Gelatin developing-out paper, 197x149mm]. Photograph taken on way to durbar (see Photo 10/27 pp.9-10). Three British officers on the riverbank are identified: Coleridge (8th Gurkha Rifles), Lieutenant Easton, Major Beynon (later Major-General Sir William George Lawrence Beynon (1866-1955). [?Gelatin developing-out paper, 152x103mm]. View looking across fields towards a fort. '...carried us on January 13th down the main eastern portion of the Dasht valley. Where the barren side valley of Kani is joined by another before debouching into the plain the track passes curious remains known as Haft-brat, 'the Seven Brothers.' There below a rocky ridge there stretch in a row thirteen walled enclosures adjoining like rooms. The average size of each is about 25 feet square, diminishing slightly towards the eastern foot of the ridge. The lines of large unhewn stones, looking as if meant for wall foundations, can clearly be traced, but no remains of walls rise above them. No potsherds or other helpful indications could be found near these strange enclosures and their purpose remains obscure' (Gedrosia, p. 58). '...I visited the small terrace of Ab-i-chuk on the stony glacis of bare hills. Over an area of about 300 yards in diameter it is covered with numerous irregular enclosures, some roughly circular or quadrilateral, formed by large upright blocks of stone. Three of them were cleared without any finds being made, and their purpose remained uncertain.' (Ancient Persis, p. 174, Map C2). '...Lay� Ting, a village which had been comprised of thirty houses until the Chinese came and burnt them. Two-thirds of them had been repaired, but very roughly, as the people did not yet feel sufficiently secure to do more than rig up temporary accommodation...' (No Passport to Tibet, p. 111). '...on the top, where stand sticks with barley straw, ears of barley and pieces of cotton cloth on which prayers are printed. On right a small pillar, in which incense is burnt as an additional prayer. In the same valley as 525 and 526.' '...To the south of the village about a quarter of a mile, is a much larger lake, called the Bagela, or Vagela talao, formed by a very substantial band [bund] across the north end of the ravine. It contains some small islands, and stretches its arms up into the dells between the hills that enclose it. On the north-east are some gardens belonging to the temple, and the morning view given in Photograph XV is taken from one of them, looking towards the south. The scene is one of lovely seclusion and beauty, the mist rising in distant ravines, and the stately palms relected in the mirror of the glassy lake, anhancing the charms of scenery that in a Western clime would be visited from far and near.' The catalogue list of photographs at the end of the volume states that this view looks to the east rather than the south, as well as proclaiming it 'one of the best photographs ever produced.' Photograph by Colin Murray for Bourne and Shepherd. 'A bewildering mass of billboards at the corner of Harrison Street (Burra Bazar) and Strand Road. One of the oldest sections of Calcutta, at the foot of the Howrah Bridge, it is a fine vantage point for photographing the passing parade of oddly dressed natives and curious vehicles.' View looking across the street towards the buildings covered with hoardings on the other side, with hackgharries in the foreground. 'Aerial view of Calcutta downtown. In the upper left background is Hindusthan Building, U.S. Army HQ. The oldest part of the city starts at the Esplanade and extends upwards. The city was founded in the early 1700s [sic].' View looking south over the city, with the dome of the Post Office visible in the distance. In the extreme foreground is Chotulal's Ghat. For other views of this ghat, see Photo 792 (2834), Photo 406/2 (19 and 22) and Photo 1081/1 (47) . In these earlier views the ghat is immediately to the north of the floating Howrah Bridge, while in this view it is immediately to the south. This apparent anomaly is explained by the fact that the new bridge, completed in 1943, was a little to the north of the older structure (the remains of the first pontoon of which can be seen in this view). 'A few miles on we left the Tsangpo valley and entered its tributary the Kyi-chu, and soon found we had a distant view of the mountains surrounding Lhasa.' (Lhasa Mission Diary, 23 August 1936).[Gelatin silver print, 141x92mm]. 'After a couple of years in India, the bizarre aspects of street life become commonplace to the average soldier, as evidenced by the scant notice given to the passing snake-walla by the GI at right bargaining for a shine from one of the city's hundreds of bootblacks. The New American Kitchen is a popular Chinese restaurant, owned by a Portuguese, and serves up a steak or a chop suey before you can say 'Teekhai'.' 'A little further on we came to a stream called the Tsalung flowing through an extraordinarily narrow cleft. It was fed, as we saw later, from a glacier higher up the valley' (No Passport to Tibet, p. 122). 'Among the fine orchards and vineyards extending for 5 miles further up between the river and the foot of the Safidar chain I visited a large garden residence once owned by the Qawam family, who provided hereditary chiefs to the Khamseh tribes in the eastern portion of Fars and were powerful rivals to the Qasqai Ilkhanis.' (Ancient Persis, p. 135, Map B3). 'Areca palms' and 'Jaghery palms out of sight' are identified. 'Calcutta's poor form a line to buy kerosene at 6 a.m. Each little cubicle may contain a shop and living quarters for a family ranging possibly from 6 to 12. Sanitary facilities consist of an open street drain.' View looking along an alley. 'Calcutta's traffic is usually snarled. And the reasons are clearly shown. Shuffling coolies and pedestrians with little regard for their lives seem completely oblivious to the perils of automotive traffic.' Street scene with trams. The view looks south along Old Court House Street. 'Chowringhee Square. the Mohammedan mosque, Juma Masjid [sic, for Dhurrumtollah Mosque], is shown at left. This is actually one of the quiet moments when GI trucks, taxis, bicycles and other modes of transport can move with comparative freedom.' The view looks south from Bentinck Street towards Chowringhee Road. 'Coffee plantation' on the left. 'Corner bookstalls, specializing in lurid novels, sex treatises, are fascinating spots for British and American soldiers alike. Typical titles, 'The Escapades of Erotic Edna', 'Kama Sutra, the Hindu Art of Love.' Nighttime shot of American and British soldiers browsing at a streetside bookstall. 'Crowd gathers round a sidewalk performer at bus stop while GIs take temporary advantage of an overhead view from steps of a camp bus. This is a good spot for hawkers, beggars, shoe shine boys, showmen to work on the bankroll of the 'rich American soldier'.' 'Down one alley you might see a shop such as this one, packed with shoemakers sewing and cutting or pulling on a hookah such as the one at right. Combined with the shoemaking enterprise is a laundry (dhobie). During monsoon, dhobie must contrive to dry clothes inside, tho hampered by shortage of sheltered spaces.' Nighttime shot of a group of shoemakers at work in an alleyway, with laundry draped over lines above. 'Early morning in many a Calcutta street finds natives huddled together around a breakfast teapot, having risen from their sidewalk abode. The milkman makes a regular stop at this community gathering on busy Park Street.' 'Entrance in foreground. One enters first the courtyard or vestibule, covered by over-rrof only, and at the further end is the inner tent, covered by roof and over-roof. Designs in dark blue on white background. Very picturesque. 'GI dock workers of the port companies created order out of chaos at Calcutta's great docks and thousands of tons of vital war supplies flowed through to China, Burma and India. The MP is on hand to see that the coolies do not pilfer from the rations they are carrying.' Wharfside scene with labourers loading goods, overseen by a military policeman 'Hindus bathe in the holy water of a canal which was cut from the original bed of the Ganges. Steps lead down from the grounds of the Kalighat temple. Water is still considered holy, even though from the Hooghly.' 'In case there's any doubt in your mind as to your dhobie's intentions with your best shirt, the expression on the face of the fiendish laundry-wallah battering the garment in this picture should remove it. In closing this album of Calcutta, the writer feels justified in observing that the reasons for the dhobie's methods remain, in spite of much research, among the greater mysteries of India.' View of a roadside laundry, with clothes being pounded in a canal. 'Inglisby' is the name of a Shillong house (see Print 51). 'Just to the north of Yasin and the mouth of the Nasbar valley there extends on the right bank an almost level plateau, about three miles long and one mile wide, known as Dasht-i-taus. It is known to local tradition to have once been cultivated, and its position is such as to permit of its easily being brought under irrigation again by a canal from the Nasbar stream.' (i, 43). 'Most any block in the slum areas will find natives sleeping huddled together under any shelter they can find, frequently none at all. How the thousands of homeless can survive under such conditions is beyond the understanding of many Western visitors.' 'Native madman is allowed to roam the streets naked, accosting cars, sitting down in the middle of the street or anything else that takes his fancy. How he escapes being run down or run in by the law is one of India's mysteries.' Showing a man begging at the window of a car parked in front of Atindra Mansion, premises of the Howrah Motor Co. 'Nightfall in Calcutta stirs the imagination and curiosity as to what goes on down dimly-lit alleys often leads an occasional soldier into the out-of-bounds areas. If you don't know the way, five rupees will buy a trip to the few still existent brothels in one of the garries shown here. (Warning: MPs take a poor view).' Nighttime street scene, with a row of gharis awaiting customers. 'On their heads are red tufts of yak hair, above these tufts of white sheep wool and on the tops sprays of cocks' feathers. On the neck and nostrils strings of cowries. On the right horns, again tufts of yak hair. Behind the plough a man sowing, which is unusual, for women usually sow.' 'Pasha's Quarters' and 'General Vivien's Quarters' are identified. 'Ravenscraig' is inscribed on the verso. 'Signs notwithstanding, you can't buy cameras, binoculars, photo goods or accessories here, but the stock does include anything from a Legion of Merit ribbon to an ivory necklace, brass ashtray, ladies evening bag, shoestrings or napkin rings. Typical shoppers ponder the situation.' Showing a group of G.I.s outside the Chowringhee Camera Stores. 'Snowdon' is the large building on the left at the top of the ridge. It became the Commander-in-Chief's Simla residence in 1885, and is here seen after the extensive alterations and enlargements made by Kitchener in 1903-04. 'Specimen of heliogravure by Major Waterhouse's Process.' 'Street scene outside the Calcutta Stock Exchange. The noise is similar to the bedlam in all world exchanges and many transactions (unofficial) take place in the street as shown here.' 'The best known of the 'dambs' [mounds] of Khozdar is the site of Miri-but, on the right bank of the river about two miles to the south-east of the Khozdar fort. There a rocky outlier of the hill chain to the south of the Kahnak bed juts out towards the latter's junction with the river....' (Gedrosia, p. 172). 'The cairn of stones marks the spot where a 'chigga' or pursuit party were waylaid and shot down in a 'chapao' or ambush by a raiding party of tribesmen. Such cairns are a very common sight in the nullahs of the Border hills, and serve as areminder that life is cheap in those unfriendly regions.'[Gelatin silver print, 107x60mm]. 'The Calcutta counterpart of the American railroad magazine stand. Available are canes, suitcases, soda water, shopping bags, cigarettes and a hundred other items peculiar to the Indian taste.' Nighttime shot of a street stall, probably near Howrah Station. 'The central position occupied by Sra-kala in the plain of Pishin may well have caused the mound to be chosen for the stronghold of a governor entrusted with the charge of the tract during the Sasanian period or the early Muhammadan times which followed it...' (p. 83). 'The designs on the white tent on the right are in blue. The larger white tents often have a high roof with a gap between it and the walls of the tent. 'The GI tourist here ponders the purchase of a 'rare gem' - a typical camera study of life on Chowringhee during the war. Firpo's famous restaurant is in the background, and dhoti-clad Indians and a British officer in shorts lend a bit of atmosphere.' 'The Hooghly river is lined with bathing ghats like the one shown here. the troop transports in the background seem out of place in the old-world atmosphere created by the temple at left and the sampans at anchor.' View looking south along the river, with ghats in the left foreground. 'The indifference of the passersby on this downtown Calcutta street to the plight of the dying woman in the foreground is considered commonplace. During the famine of 1943, cases like this were to be seen in most every block, and though less frequent now, the hardened public reaction seems to have endured.' A malnourished woman lies on the pavement, with pedestrians in the background. 'The noon snack is taken by many at a fruit vendor such as this one. Verboten to troops by military order, sanitation isn't even considered and peels litter the streets. Greatest menance of this dealer is the threat of cholera, carried by flies from open garbage bins to sliced fruit.' 'The Photograph...is a view of part of the station as seen from the Residency; on the extreme left are the Offices of the Agency, and on the right is seen the roof and part of the west end of the little English church, nearly behind which is the Lawrence School, while between this and the Agency Offices, as also behind and before the School, are several bangalas belonging to officers attached to the Agency. This picture gives a very fair idea of the station, charmingly situated on an undulating plateau surrounded by hills.' Photograph by Colin Murray for Bourne and Shepherd. 'These Sikh lads have chosen an auspicious stand for their business selling 'precious' stones to GIs. No more than 12 years old, these boys are shrewd and 'malum' English well enough to trim a sucker every time.' With Hamilton & Co., jewellers, in the background. 'The spectators are in the gallery in the foreground to the right; the monks conducting the service can be seen in the well of the courtyard below to the left.' 'The view from the top of the Jong perhaps 600 feet above the Gyantse plain is very striking. Curious little buildings are built tier on tier up the steep hillside, the general appearance being very similar to the Island of Mont St Michel off the coast of Brittany in France.' (Lhasa Mission Diary, 15 August 1936).[Gelatin silver print, 141x92mm]. 'This cocoanut market on Cornwallis Stree is a sample of the haphazard way inwhich many bazars are operated. The popular pause for refreshment is indulged by Indian in central foreground drinking cocoanut milk.' 'This general view of the interior of the citadel has been taken from the roof of one of the numerous ruined buildings on the north-eastern side of the citadel, and conveys an excellent impression of the general condition of ruin and desolation...In the middel distance is the noble ruin called the Son�ree Mahal, or Gilded Palace...On the left, the lofty upper stories of the palace of Mahmood Shah rise above the trees, and immediately behind them are the domes of the mausoleums of Khowas Khan and Kishwur Khan. In the centre of the distance are the domes and minarets of the Ibrahim Roza, and the high ground in the horizon is that beyond Toorwah, which formed the western boundary of the vast city.' Photographer uncertain, either Loch or Thomas Biggs. 'This is the only covered bridge in Mandalay, and is situated to the west, down C Road; the reason assigned for its being covered over, is, that it is on the way to the graveyard of the Royal family...The bridge crosses the 'Shway-ta-Choung' Canal. 'Titan' gantry crane in operation, with the Wenlock, a steam tug fitted with a crane in the bows, in support. 'Titan' gantry crane laying concrete blocks. 'Vice Regal Lodge' is identified on the left. 'We are looking from the balcony of a deserted palace over a city of deserted houses...' With Indian figure squatting in foreground. Stereoscopic pair. (?)Baobab trees in the gardens. (?)View along the poplar avenue known as Rotten Row.[Silver printing-out paper, 238x186mm]. (Ancient Persis Map C2). (I.A. Map 17, A1). (I.A. Map 2, B2). (I.A. Map 2, B3). (I.A. Map 2, C3). (I.A. Map 25, D3). (I.A. Map 3, C1). (I.A. Map A). [100x72mm]. [100x72mm]. [100x72mm]. [100x73mm]. [100x74mm]. [102x77mm]. [103x78mm]. [103x79mm]. [103x79mm]. [104x79mm]. [105x78mm]. [116x92mm]. [118x87mm]. [138x82mm]. [139x82mm]. [145x83mm]. [152x106mm]. [290x215mm]. [72x44mm]. [74x50mm]. [74x51mm]. [76x55mm]. [82x84mm]. [86x84mm]. [96x72mm]. [98x77mm]. [Albumen print, 100x73mm]. [Albumen print, 105x186mm]. [Albumen print, 108x158mm]. [Albumen print, 115x91mm]. [Albumen print, 132x193mm]. [Albumen print, 133x187mm]. [Albumen print, 154x101mm]. [Albumen print, 155x107mm]. [Albumen print, 156x100mm]. [Albumen print, 156x96mm]. [Albumen print, 164x103mm]. [Albumen print, 164x94mm]. [Albumen print, 165x98mm]. [Albumen print, 174x105mm]. [Albumen print, 185x104mm]. [Albumen print, 186x104mm]. [Albumen print, 186x105mm]. [Albumen print, 189x171mm]. [Albumen print, 190x152mm]. [Albumen print, 194x140mm]. [Albumen print, 197x150mm]. [Albumen print, 199x149mm]. [Albumen print, 212x285mm]. [Albumen print, 215x146mm]. [Albumen print, 215x161mm]. [Albumen print, 215x183mm]. [Albumen print, 225x179mm]. [Albumen print, 226x179mm]. [Albumen print, 231x179mm]. [Albumen print, 240 x 171 mm]. [Albumen print, 242x183mm]. [Albumen print, 243x180mm]. [Albumen print, 246x128mm]. [Albumen print, 250x158mm]. [Albumen print, 251x157mm]. [Albumen print, 255x187mm]. [Albumen print, 255x198mm]. [Albumen print, 258x139mm]. [Albumen print, 268x215mm]. [Albumen print, 269x204mm]. [Albumen print, 272x217mm]. [Albumen print, 273x214mm]. [Albumen print, 275x211mm]. [Albumen print, 275x213mm]. [Albumen print, 275x215mm]. [Albumen print, 278x215mm]. [Albumen print, 279x216mm]. [Albumen print, 280x222mm]. [Albumen print, 284x222mm]. [Albumen print, 289x225mm]. [Albumen print, 379x303mm]. [Albumen print, 62x62mm (circular image)]. [Albumen print, 94x145mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, circular image, 62x62mm]. [Albumen print, numbered '3713' in the negative, 270x211mm]. [Albumen print, numbered '3715' in the negative, 275x215mm]. [Albumen print, numbered '3728' in the negative, 274x198mm]. [Albumen print, numbered '3729' in the negative, 273x209mm]. [Albumen print, oval image, 179x109mm]. [Albumen print, oval vignette, 115x90mm]. [Albumen print, oval vignette, 140x90mm]. [Albumen print, signed 'Bourne 707' in the negative, 190x105mm]. [Albumen print, signed 'H.D.' in the negative, 328x250mm]. [Albumen print, signed 'H.D.' in the negative, 348x248mm]. [Albumen print, signed 'H.D.' in the negative, 352x245mm]. [Albumen print, signed 'Townshend Phot.' in the negative, 213x277mm]. [Albumen print, signed 'Townshend Phot.' in the negative, 213x278mm]. [Albumen print, signed 'Townshend Phot.' in the negative, 214x278mm]. [Albumen print, signed 'Townshend Phot.' in the negative, 215x276mm]. [Albumen print, signed 'Townshend Phot.' in the negative, 215x276mm]. [Albumen print, signed 'Townshend Phot.' in the negative, 278x213mm]. [Albumen print, signed 'W. Baker 433' in the negative, 280x217mm]. [Albumen print, signed 'W. Baker 616' in the negative, 197x146mm]. [Albumen print, vignetted oval image, 110x77mm]. [Albumen print]. [Blue-toned print.] [Blue-toned print.] [Captioned and signed 'Holmes 162' in the negative, 292x237mm]. [Coloured lantern slide, 82x82mm]. [Cyanotype, 107x151mm]. [Gelatin printing-out paper, 103x74mm]. [Gelatin printing-out paper, 242x194mm]. [Gelatin silver print, 104x60mm]. [Gelatin silver print, 105x158mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 110 X 83 mm]. [Gelatin silver print, 120x183mm]. [Gelatin silver print, 125x122mm]. [Gelatin silver print, 126x122mm]. [Gelatin silver print, 127x120mm]. [Gelatin silver print, 127x121mm]. [Gelatin silver print, 128x78mm]. [Gelatin silver print, 130x100mm]. [Gelatin silver print, 131x79mm]. [Gelatin silver print, 131x79mm]. [Gelatin silver print, 131x79mm]. [Gelatin silver print, 131x81mm]. [Gelatin silver print, 131x81mm]. [Gelatin silver print, 132x75mm]. [Gelatin silver print, 133x78mm]. [Gelatin silver print, 134x80mm]. [Gelatin silver print, 135x79mm]. [Gelatin silver print, 135x80mm]. [Gelatin silver print, 135x80mm]. [Gelatin silver print, 135x80mm]. [Gelatin silver print, 136x84mm]. [Gelatin silver print, 137x79mm]. [Gelatin silver print, 137x79mm]. [Gelatin silver print, 140x80mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 141x93mm]. [Gelatin silver print, 148x207mm]. [Gelatin silver print, 150x205mm]. [Gelatin silver print, 150x215mm]. [Gelatin silver print, 152x104mm]. [Gelatin silver print, 155x106mm]. [Gelatin silver print, 156 X 117 mm]. [Gelatin silver print, 157x113 mm]. [Gelatin silver print, 159x114mm]. [Gelatin silver print, 164x118mm]. [Gelatin silver print, 166x113mm]. [Gelatin silver print, 172x210mm]. [Gelatin silver print, 175x212mm]. [Gelatin silver print, 176x207mm]. [Gelatin silver print, 176x212mm]. [Gelatin silver print, 177x120mm]. [Gelatin silver print, 179x215mm]. [Gelatin silver print, 195x306mm]. [Gelatin silver print, 196x135mm]. [Gelatin silver print, 197x309mm]. [Gelatin silver print, 200x147mm]. [Gelatin silver print, 200x149mm]. [Gelatin silver print, 201x146mm]. [Gelatin silver print, 201x148mm]. [Gelatin silver print, 201x149mm]. [Gelatin silver print, 201x150mm]. [Gelatin silver print, 201x150mm]. [Gelatin silver print, 202x149mm]. [Gelatin silver print, 202x150mm]. [Gelatin silver print, 202x153mm]. [Gelatin silver print, 203x139mm]. [Gelatin silver print, 204x150mm]. [Gelatin silver print, 205x155mm]. [Gelatin silver print, 206x280mm]. [Gelatin silver print, 214x146mm]. [Gelatin silver print, 214x163mm]. [Gelatin silver print, 217x167mm]. [Gelatin silver print, 221x154mm]. [Gelatin silver print, 221x168mm]. [Gelatin silver print, 222x157mm]. [Gelatin silver print, 229x225mm]. [Gelatin silver print, 240x146mm]. [Gelatin silver print, 282x228mm]. [Gelatin silver print, 288x210mm]. [Gelatin silver print, 289x184mm]. [Gelatin silver print, 291x204mm]. [Gelatin silver print, 293x206mm]. [Gelatin silver print, 53x80mm]. [Gelatin silver print, 55x79mm]. [Gelatin silver print, 56x80mm]. [Gelatin silver print, 57x79mm]. [Gelatin silver print, 57x79mm]. [Gelatin silver print, 57x79mm]. [Gelatin silver print, 73x135mm]. [Gelatin silver print, 77x43mm]. [Gelatin silver print, 78x98 mm]. [Gelatin silver print, 78x98 mm]. [Gelatin silver print, 79x55mm]. [Gelatin silver print, 79x57mm]. [Gelatin silver print, 79x57mm]. [Gelatin silver print, 80x37mm]. [Gelatin silver print, 80x55mm]. [Gelatin silver print, 80x55mm]. [Gelatin silver print, 81x121mm]. [Gelatin silver print, 81x56mm]. [Gelatin silver print,82x133mm]. [Gelatin silver print, 82x55mm]. [Gelatin silver print, 83 X 110 mm]. [Gelatin silver print, 84 X 78 mm]. [Gelatin silver print, 91x141mm]. [Gelatin silver print, 98 X 60 mm]. [Gelatin silver print, 98x73mm]. [Gelatin silver print, 98x73mm]. [Gelatin silver print, 98x73mm]. [Gelatin silver print, 98x78 mm]. Another view of the lake. [Gelatin silver print, 98x78 mm]. Men walking along raod with goats. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm]. [Gelatin silver print, 98x78 mm] [Gelatin silver print, 98x78 mm] [Gelatin silver print, mounted on card, 204x260mm]. [Gelatin silver print, mounted on card, 284x173mm]. [Gelatin silver print, mounted on card with typescript caption, 211x297mm]. [Gelatin silver print, signed 'Bremner' in the negative and numbered '24' in pencil on reverse, 284x236mm]. [Gelatin silver prints, 150x110mm]. [Gelatin silver prints]. [Green-toned gelatin silver print, 299x213mm.] [Hand-coloured albumen print, 270x210mm]. [Lantern slid, 62x52mm]. [Lantern slide, 63x50mm]. [Lantern slide, 64x52mm]. [Lantern slide, 66x66mm]. [Lantern slide, 66x67mm]. [Lantern slide, 66x67mm]. [Lantern slide, 67x66mm]. [Lantern slide, 67x67mm]. [Lantern slide, 69x54mm (oval)]. [Lantern slide, 69x63mm]. [Lantern slide, 70x54mm]. [Lantern slide, 70x58mm]. [Lantern slide, 70x70mm]. [Lantern slide, 71x50mm]. [Lantern slide, 72x50mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x72mm]. [Lantern slide, 72x73mm]. [Lantern slide, 73x72mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x73mm]. [Lantern slide, 73x74mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x74mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x75mm]. [Lantern slide, 74x76mm]. [Lantern slide, 75x73mm]. [Lantern slide, 75x74mm]. [Lantern slide, 75x75mm].Distant view of fort with river in foreground. [Lantern slide, 75x75mm]. [Photogravure, 114x149mm]. [Photogravure, 149x113mm]. [Photogravure, 253x203mm]. [Platinum print, 100x74mm]. [Platinum print, 100x74mm]. [Postcard, gelatin silver print, 136 X 86 mm]. [Printing-out paper, 102x75mm]. [Printing-out paper, 107x72mm]. [Printing-out paper, 108x135mm]. [Printing-out paper, 111x150mm]. [Printing-out paper, 114x148mm].Check against 92/9 (46 and 270). [Printing-out paper, 123x81mm]. [Printing-out paper, 127x70mm]. [Printing-out paper, 138x82mm]. [Printing-out paper, 141x82mm]. [Printing-out paper, 141x83mm]. [Printing-out paper, 151x111mm]. [Printing-out paper, 152x109mm]. [Printing-out paper, 154x110mm]. [Printing-out paper, 155x112mm]. [Printing-out paper, 205x151mm]. [Printing-out paper, 206x150mm]. [Printing-out paper, 211x147mm]. [Printing-out paper, 212x149mm]. [Printing-out paper, 277x213mm]. [Printing-out paper, 284x214mm]. [Printing-out paper, 285x212mm]. [Printing-out paper, 285x214mm]. [Printing-out paper, 285x218mm]. [Printing-out paper, 286x216mm]. [Printing-out paper, 287x214mm]. [Printing-out paper, 288x213mm]. [Printing-out paper, 289x212mm]. [Printing-out paper, 289x214mm]. [Printing-out paper, 289x216mm]. [Printing-out paper, 290x212mm]. [Printing-out paper, 290x214mm]. [Printing-out paper, 290x214mm]. [Printing-out paper, 290x215mm]. [Printing-out paper, 290x215mm]. [Printing-out paper, 290x216mm]. [Printing-out paper, 290x217mm]. [Printing-out paper, 291x216mm]. [Printing-out paper, 291x216mm]. [Printing-out paper, 292x210mm]. [Printing-out paper, 292x213mm]. [Printing-out paper, 292x214mm]. [Printing-out paper, 292x216mm]. [Printing-out paper, 292x217mm]. [Printing-out paper, 293x213mm]. [Printing-out paper, 293x213mm]. [Printing-out paper, 294x213mm]. [Printing-out paper, 297x216mm]. [Printing-out paper, 66x89mm]. [Printing-out paper, 89x66mm]. [Printing-out paper, 89x66mm]. [Printing-out paper, 94x37mm]. [Printing-out paper, 96x64mm]. [Printing-out paper, 96x70mm]. [Printing-out paper, 96x71mm]. [Printing-out paper, 97x71mm]. [Printing-out paper, 97x73mm]. [Printing-out paper, 97x73mm]. [Printing-out paper, 98x73mm]. [Sepia-tinted gelatin silver print, 102x75mm] [Sepia-tinted gelatin silver print, 102x75mm] [Sepia-tinted gelatin silver print, 72x98mm] [Sepia-toned gelatin silve print, 75x106mm] [Sepia-toned gelatin silver print, 100x71mm]. [Sepia-toned gelatin silver print, 100x74mm]. [Sepia-toned gelatin silver print, 100x74mm]. [Sepia-toned gelatin silver print, 100x75mm]. [Sepia-toned gelatin silver print, 100x75mm]. [Sepia-toned gelatin silver print, 100x76mm]. [Sepia-toned gelatin silver print, 100x77mm] [Sepia-toned gelatin silver print, 100x77mm] [Sepia-toned gelatin silver print, 100x78mm]. [Sepia-toned gelatin silver print, 101x70mm] [Sepia-toned gelatin silver print, 101x73mm]. [Sepia-toned gelatin silver print, 101x74mm]. [SEpia-toned gelatin silver print, 101x74mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x75mm]. [Sepia-toned gelatin silver print, 101x75mm] [Sepia-toned Gelatin silver print, 101x75mm] [Sepia-toned gelatin silver print, 101x76mm]. [Sepia-toned gelatin silver print, 101x76mm]. [Sepia-toned gelatin silver print, 101x76mm]. [Sepia-toned gelatin silver print, 101x77mm] [Sepia-toned gelatin silver print, 101x78mm] [Sepia-toned gelatin silver print, 102x67mm]. [Sepia-toned gelatin silver print, 102x73mm]. [Sepia-toned gelatin silver print, 102x74mm]. [Sepia-toned gelatin silver print, 102x74mm]. [Sepia-toned gelatin silver print, 102x74mm]. [Sepia-toned gelatin silver print, 102x74mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print,102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm]. [Sepia-toned gelatin silver print, 102x75mm] [Sepia-toned gelatin silver print, 102x76mm]. [Sepia-toned gelatin silver print, 102x76mm]. [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102 x 76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x76mm] [Sepia-toned gelatin silver print, 102x77mm]. [Sepia-toned gelatin silver print, 103x72mm]. [Sepia-toned gelatin silver print, 103x73mm]. [Sepia-toned gelatin silver print, 103x74mm]. [Sepia-toned gelatin silver print, 103x74mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia-toned gelatin silver print, 103x75mm]. [Sepia toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm]. [SEpia-toned gelatin silver print, 103x76mm]. [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x76mm] [Sepia-toned gelatin silver print, 103x77mm]. [Sepia-toned gelatin silver print, 103x77mm]. [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 103x78mm]. [Sepia-toned gelatin silver print, 104x75mm]. [Sepia-toned gelatin silver print, 104x75mm]. [Sepia-toned gelatin silver print, 104x76mm]. [Sepia-toned gelatin silver print, 104x76mm]. [Sepia-toned gelatin silver print, 104x77mm]. [Sepia-toned gelatin silver print, 106x74mm]. [Sepia-toned gelatin silver print, 67x98mm] [Sepia-toned gelatin silver print, 73x101mm] [Sepia-toned gelatin silver print, 73x102mm]. [Sepia-toned gelatin silver print, 74x102mm]. [Sepia-toned gelatin silver print, 75x101mm]. [Sepia-toned gelatin silver print, 75x101mm] [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x102mm]. [Sepia-toned gelatin silver print, 75x94mm] [Sepia-toned gelatin silver print, 75x97mm]. [Sepia-toned gelatin silver print, 76x100mm]. [Sepia-toned gelatin silver print, 76x101mm]. [Sepia-toned gelatin silver print, 76x101mm] [Sepia-toned gelatin silver print, 76x102mm]. [Sepia-toned gelatin silver print, 76x102mm]. [Sepia-toned gelatin silver print, 76x102mm] [Sepia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x104mm]. [Sepia-toned gelatin silver print, 76x98mm]. [Sepia-toned gelatin silver print, 77x101mm] [Sepia-toned gelatin silver print, 77x101mm] [Sepia-toned gelatin silver print, 77x102mm]. [Sepia-toned gelatin silver print, 77x104mm]. [Sepia-toned gelatin silver print, 77x104mm]. [Sepia-toned gelatin silver print, 77x99mm]. [Sepia-toned gelatin silver print, 77x99mm] [Sepia-toned gelatin silver print, 78x100mm] [Sepia-toned gelatin silver print, 79x84mm] [Sepia-toned gelatin silver print, 91x61mm]. [Sepia-toned gelatin silver print, 91x75mm] [Sepia-toned gelatin silver print, 95x76mm]. [Sepia-toned gelatin silver print, 96x71mm] [Sepia-toned gelatin silver print, 97x75mm]. [Sepia-toned gelatin silver print, 98x69mm]. [Sepia-toned gelatin silver print, 98x73mm] [Sepia-toned gelatin silver print, 98x77mm] [Sepia-toned gelatin silver print, 99x75mm]. [Sepia-toned gelatin silver print, 99x75mm] [Sepia-toned print, 127x80mm]. [Sepia toned print, 129x79mm]. [Sepia toned print, 129x80mm]. [Sepia-toned print, 131x78mm]. [Sepia toned print, 132x75mm]. [Sepia toned print, 132x75mm]. [Sepia-toned print, 132x82mm]. [Sepia-toned print, 206x139mm]. [Sepia-toned print, 221x298mm]. [Silver printing-out paper, 100x120mm]. [Silver printing-out paper, 102x76mm]. [Silver printing-out paper, 105x81mm]. [Silver printing-out paper, 111x155mm]. [Silver printing-out paper, 114x155mm]. [Silver printing-out paper, 115x97mm]. [Silver printing-out paper, 118x96mm]. [Silver printing-out paper, 119x90mm]. [Silver printing-out paper, 119x95mm]. [Silver printing-out paper, 119x96mm]. [Silver printing-out paper, 120x96mm]. [Silver printing-out paper, 120x96mm]. [Silver printing-out paper, 120x96mm]. [Silver printing-out paper, 120x97mm]. [Silver printing-out paper, 120x97mm]. [Silver printing-out paper, 120x97mm]. [Silver printing-out paper, 120x97mm]. [Silver printing-out paper, 120x97mm]. [Silver printing-out paper, 120x98mm]. [Silver printing-out paper, 121x56mm]. [Silver printing-out paper, 121x96mm]. [Silver printing-out paper, 121x96mm]. [Silver printing-out paper, 121x96mm]. [Silver printing-out paper, 121x97mm]. [Silver printing-out paper, 122x98mm]. [Silver printing-out paper, 135x82mm]. [Silver printing-out paper, 136x80mm]. [Silver printing-out paper, 138x78mm]. [Silver printing-out paper, 138x80mm]. [Silver printing-out paper, 148x198mm]. [Silver printing-out paper, 149x197mm]. [Silver printing-out paper, 151x199mm]. [Silver printing-out paper, 154x110mm]. [Silver printing-out paper, 195x147mm]. [Silver printing-out paper, 202x150mm]. [Silver printing-out paper, 204x142mm]. [Silver printing-out paper, 204x148mm]. [Silver printing-out paper, 205x153mm]. [Silver printing-out paper, 205x90mm]. [Silver printing-out paper, 206x152mm]. [Silver printing-out paper, 207x154mm]. [Silver printing-out paper, 210x150mm]. [Silver printing-out paper, 211x153mm]. [Silver printing-out paper, 211x153mm]. [Silver printing-out paper, 238x154mm]. [Silver printing-out paper, 238x181mm]. [Silver printing-out paper, 244x182mm]. [Silver printing-out paper, 286x215mm]. [Silver printing-out paper, 292x211mm]. [Silver printing-out paper, 294x208mm]. [Silver printing-out paper, 55x128mm]. [Silver printing-out paper, 78x92mm]. [Silver printing-out paper, 81x136mm]. [Silver printing-out paper, 87x120mm]. [Silver printing-out paper, 90x87mm]. [Silver printing-out paper, 94x120mm]. [Silver printing-out paper, 95x117mm]. [Silver printing-out paper, 96x121mm]. [Silver printing-out paper, 97x120mm]. [Silver printing-out paper, 97x120mm]. [Silver printing-out paper, 97x120mm]. [Silver printing-out paper, 98x120mm]. [Silver printing-out paper, 98x120mm]. [Silver printing-out paper, 98x120mm]. [Silver printing-out paper, 98x120mm]. [Silver printing-out paper, 98x122mm]. [Silver printing-out paper, 98x122mm]. [Silver printing-out paper, 98x75mm]. [Silver printing-out paper, 99x76mm]. [Silver printing-out paper, signed 'G.S.' in the negative, 207x151mm]. [Snapshot, 87x57mm]. 10 snapshots showing construction work on the Mangla Regulator.[Printing-out paper, various sizes]. 13th green from 14th tee. 17 snapshots of construction work using steam navvies in the excavation of the Mangla Regulator.[Printing-out paper, various sizes]. 18 snapshots of Madras scenes, including Government Houses at Madras and Guindy, topographical views, portrait groups. There is also one snapshot of guests entering a tent at a lunch given by the Nizam of Hyderabad at Shahabad.[Gelatin silver prints]. 25 prints, aerial photographs of targets. The prints are dated between March and November 1918 and include aerial views of the following locations: Thionville, Morhange, Rottweil, Ebersheim, Luxemburg, Ludwigshafen, Mundeheim, Metz, Frankfurt, Dillingen, Cologne, Karlsruhe, Buzancy, Liege, Montmedy, Hagenau, Oberndorf, St Juvin.[Gelatin silver prints]. 28 snapshots of Bombay scenes, including informal portrait snapshots, general topographical views, interior and exterior views of Government House, Bombay.[Gelatin silver prints]. Abor couple, crouching on riverbank.[Gelatin silver, 111x88mm]. A clearer view of the hill. A clearer view of the wall surrounding the Palace and cantonment, insterspersed at intervals with ornate wooden watchtowers. Second copy neg at B.11998. A clearer view than print 394. Duplicate of Photo 1000 (4054). A closer view, in better condition, of the Louise Margaret Bridge across the Chappar Ridge. Duplicate at Photo 481/2 (47). A closer view. A closer view of part of the Mishmi cane bridge also seen in print 1. A closer view of the bridge. A closer view of the entrance to the tunnel. Actual inscriptions cannot be seen in this general view. A dark and indistinct print looking across country from the top of the mound seen in print 32. With a river or lake in the foreground.Duplicate of Photo 1002 (32). A dark print. (I.A. Map 46, B3). A dark print. View looking towards fort. A different and older building than that seen in prints 22-23. With traders and others gathered in front of the building. A different gateway to the exhibition. A distant view, looking across a field, with the temple visible on the skyline. Bengal list pp. 550-551; see also, J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 156-157. A distant view from a neighbouring hill, looking towards the survey station, where Morshead can be seen at work with a theodolite, shaded by an umbrella. A distant view like print 97, but somewhat clearer. A distant view of the inscribed rock face and surrounding hillside, with a bungalow on a level terrace of ground below the inscriptions. See J.D. Beglar, Report of tours in the South-Eastern Provinces in 1874-75 and 1875-76 (A.S.I. vol. XIII, Calcutta, 1882), pp.112-115: 'Within the fort are two prominent groups of bare rocks. On the larger, which has a tolerably level terrace at about half the height, a modern jogi has built a comfortable brick-and-plaster bungalow from the brickbats found in the spot. Behind the ejogi's house rise up the rocks, bare and straight, and on part of the face of these rocks are inscribed the edicts of Asoka...' Aerial photograph taken by 681 Squadron. The view shows the centre of Rangoon, with the railway station prominent in the upper half, the Sule Pagoda in the lower half, and part of the wharf area at the bottom of the print.[Gelatin silver print, 178x215mm]. Aerial view. Copy print. Aerial view. Aerial view. Aerial view. Aerial view. Aerial view. Aerial view from over the sea looking back towards Bombay Island. Aerial view looking along line towards bridge.[Gelatin silver print, 126x127mm]. Aerial view looking along line towards bridge destroyed by bombing.[Gelatin silver print, 127x126mm]. Aerial view looking along river towards bridge.[Gelatin silver print, 127x126mm]. Aerial view looking down onto a clearing, with fires buring apparently after a recent raid.[Gelatin silver print, 127x121mm]. Aerial view of James Fuller's gothic Law Courts, built 1871-79. Beyond can be seen the tower of St Thomas' Cathedral, and in the extreme background the Town Hall. Aerial view of Kalat from about 8,200 feet, with the fort in the centre of the photograph.[Gelatin silver print, 174x219mm]. Aerial view of Kalat from about 8,400 feet, with the fort in the background.[Gelatin silver print, 172x210mm]. Aerial view of Kalat from about 8,400 feet.[Gelatin silver print, 174x210mm]. Aerial view of road crossing river at a bridge.[Gelatin silver print, 126x122mm]. Aerial view of road winding through hills.[Gelatin silver print, 125x121mm]. Aerial view of scrub covered hills and mountains. Aerial view of village, with smoke rising.[Gelatin silver print, 130x120mm]. Aerial view of workshops and railway sidings.[Gelatin silver print, 179x162mm]. Aerial view taken by 681 Squadron.[Gelatin silver print, 176x211mm]. Aerial view taken by 681 Squadron.[Gelatin silver print, 177x211mm]. Aerial view taken by 681 Squadron looking down onto part of the oilfields, with the Irrawaddy at the bottom of the print. The typescript caption label on the back of the print reads: 'A great deal of activity has been noted in Yenangyaung Oilfield since Japanese occupation and reconstruction has shown continuous progress. At Nyaunghla Tank Farm the Japanese have camouflaged one 2,000,000, one 1,000,000, one 500,000 and two 100,000 gallon tanks by covering them with netting. The netting is light coloured and as they are dark toned burnt out tanks, this merely rendered them more conspicuous.'[Gelatin silver print, 178x212mm]. A European couple are in the left foreground, the woman being carried in a jampan. A European man stands in the centre at the edge of a road. A faded print.[Albumen print, 277x233mm]. A forest clearing. A fragment of manuscript attached to the bottom of the print reads: 'With kind regards, yours sincerely [illegible signature]'. A further annotation to the right of the print reads: 'I have marked with a pencil where the snowy mountains showed themselves, but so indistinctly that I was obliged to ""pick them out"" again'. A general view looking over the roooftops of Tali in western Yunnan. A photograph probably taken by Scott during the Burma-China Boundary Commission. A general view of the falls.[Albumen print, 230x285mm.] A good view of Chinese fishing nets along the water's edge.[Gelatin silver print, 98x78 mm]. A group of estate managers and workers are standing near a tank, a bungalow is above them on a hill. Probably taken at a Victoria Tea Co estate, Cachar. A group of food sellers (?) is sitting in the foreground. A human skull is lying in the foreground. A larger body of animals crossing the river. A large reservoir near the west gate of the city, 1057 by 665 feet, with stone banks and masonry steps seen in this view. Men and women washing clothes in foreground. A late print (1890s) from a Bourne photograph. A late print (1890s) from an early Bourne & Shepherd photograph. A late print (1890s) from an early Bourne & Shepherd photograph. A later print (1890s) of a Bourne photograph. Album of 47 uncaptioned views of mountain scenery, hill people, porters crossing a snow-bound pass, Stein's camps and tents, etc. Stein lived in the Kagan Valley during the hot season when he was not touring in connection with his work as inspector of schools. Alexandra David-Neel, oriental scholar and writer, was the author of 'Voyage d'une Parisienne � Lhassa' (English translation,'My journey to Lhasa', 1927). See Photo 743/5(143), where another copy of this print is dated April 1924. Almost identical to 96. Original and duplicate negatives only, no print. Almost identical to print 167. Almost identical to print 332. Almost identical to print 539a. Almost identical to print 544a. Almost identical to print 566a. A low white building with figures standing outside is on the right. Although unattributed, the style and printing process closely resembles that of Print 14 which is identified as a Wiele & Klein photograph. Although uncaptioned, the size and tone of the print is similar to other prints in this album which depict views in the Hugli region. A man is sitting cross-legged in the foreground, mountains beyond. A man sitting on a riverbank with a dog. A more distant view of the camp, with stream in foreground. A more distant view of the falls. A more distant view of the fery crossing point seen in print 16. A more general view of the trench and bodies. An 'ekka' emerging from a tunnel on the road between Simla and Mashobra. An almost identical composition to print 273, but taken a few months later. An almost identical view, with slightly less snow on the ground. An ayah and European children are on the bund. Ancient Persis, fig. 11: 'Lower portion of castle, Qal'a-i-Gabri, seen from north-west.' (Ancient Persis Map, B3). Ancient Persis, fig. 12: 'South-western portion of castle defences, Qal'a-i-Gabri, Fasa, seen from north.' (Ancient Persis Map, B3). Ancient Persis, fig. 14: 'Cliffs at southern end of hill-fastness, Isfandiyar, seen from west.' (Ancient Persis Map C3). Ancient Persis, fig. 16: 'Cliffs at southern end of Shahr-i-Ij, with tiers of cisterns.' Stein terms these 'birkehs' in his negative notebook. (Ancient Persis Map C2). Ancient Persis, fig. 17: 'Cisterns built along cliffs at southern end of ruined 'Town of Ij'.' (Ancient Persis Map C2). Araghatta is the Sanskrit word for the Persian wheel, a linked series of waterpots for moving water up from one cistern to another. Ancient Persis, fig. 21: 'Main plateau of Shahr-i-Ij, with remains of ruined dwellings, seen from north.' (Ancient Persis Map C2). Ancient Persis, fig. 24: 'Hill stronghold, Qal'a-i-Dukhtar, Istahbanat, seen from west.' With figures and donkeys in foreground. (Ancient Persis Map C2). Ancient Persis, fig. 249: 'Nakhsh-i-Shahpur, Darab, with pool and measure.' Slightly distant view, looking across pool towards rock-cut sculpture. (Ancient Persis Map C3). Ancient Persis, fig. 25: 'Tower on west wall of fortified hill above Atash-kadeh, Tang-i-Karam.' (Ancient Persis Map B2). Ancient Persis, fig. 26: 'Rock-carved fire altar, Atash-kadeh, Tang-i-Karam.' See also print 172. (Ancient Persis Map B2). Ancient Persis, fig. 27: 'Wall closing defile above Atash-kadeh, Tang-i-Karam, with mound to right, seen from fortified hill-top.' (Ancient Persis Map B2). Ancient Persis, fig. 28: 'Colossal rock sculpture representing victory of Shahpur I over the Emperor Valerian, Nakhsh-i-Rustam, Darab.' (Ancient Persis Map C3). Ancient Persis, fig. 6: 'Northern portion of castle, Qal'a-i-Gabri, Fasa, seen from vaulted structures.' (Ancient Persis Map, B3). Ancient Persis, fig. 9: 'Mound of Tal-i-Zohak, with wall, seen from north.' (Ancient Persis Map, B3). A nearer view from below. A negative print, showing a figure being winched across the river. Caption note continues: 'The Jhoola, common in the hills, is formed of ropes loosely suspended from bank to bank, attached at both ends to trees or rocks. The piers of a Saungur, which has been carried away by the torrent, are here visible. The method of drawing the traveller across by ropes is represented in the picture. The Jhoolas are impassible to heavy cattle, but sheep and goats are slung across, in couples, fastened together, suspended by their four feet.' An enlarged duplicate of print 89.[Gelatin developing-out paper, 271x181mm]. Animated street scene, precise location unidentified. An Indian group with a pony trap is on the bund. An indistinct, faded print. An indistinct and faded print, showing figures (including monks) gathered in a courtyard.[Albumen print, 151x110mm]. An indistinct view. An ink stamp on the reverse has the initials 'SS'. Annotations down the side of the print read: 'Jial Shah murdered. Mariam M/O Ibrahim Kori murdered. Bachal Shah murdered'. An oblique view of the falls, looking along the railway line. The reverse of the print has the same inscription as print 11, with the additional pencilled note: 'Falls on the W.I.P. Ry. between Castle Rock & Mormugao, Nov.12 1900.' A note below the caption reads: 'The succeeding photographs and some others in this album, relate to my father's work as an officer in the Irrigation Branch of the Indian Service of Engineers. He served in the Punjab and the North West Frontier Province from 1904-1937'. A note by A.G. McCrae on the verso reads: 'Typical scene with sampans on river and paddy gigs alongside rice mill. Probably Kanaungtoe[?] Creek, Rangoon'. A note on the back reads: 'A 5x4 film (cut down)'. A note on the reverse reads: 'A photo of Periyar Dam taken from the other side to which I did [?]. You may tear this up'. Another copy, with location identified, at print 11.[Silver printing-out paper, 120x98mm]. Another copy (in better condition) at Mss Eur F157/484 (117). Another copy at Mss Eur F157/484 (182). Another copy at Mss Eur F157/484 (82). Another copy at print 246. Another copy at print 394. Another copy of print 8. Another copy of this photograph can be found at Photo 1143/1 (14). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (17). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (18). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (24). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (36). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (39). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (41). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (43). For a note on the photographer attribution, see collection introduction. Another copy of this photograph can be found at Photo 1143/1 (8). For a note on the photographer attribution, see collection introduction. Another copy of this print at Photo 15/1 (33). Another copy of this print at Photo 640 (12). Another copy of this print is at Mss Eur F157/484 (116), where the location is identified as Amuli. Another copy of this print is at Mss Eur F157/484 (54). Another copy of this print is at Mss Eur F157/484 (80), where the location is identified. Another version of this print (in oval format) is reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 45, there titled 'The Retreat (Winter)' and signed 'W. Baker 495' in the negative. The view looks down onto the Murree Club. Another view, closer, of the remains also seen in print 177. (Ancient Persis Map B2). Another view looking down onto stream and pool. Another view of the barn. Another view of the bridge also seen in print 42. Another view of the bridge also seen in prints 29 and 44, with a second bridge in the foreground. Another view of the camp seen in print 3. Another view of the excavated trench seen in print 538. Another view of the fire altar seen in print 155. (Ancient Persis Map B2). Another view of the room also seen in print 246, taken from much the same viewpoint, but showing several diggers at work on the site. Another view of the unidentified bridge seen in print 3. A pith-helmeted European is seated in the foreground sketching, with an Indian servant shading him with an umbrella. India Museum no. 591. Duplicate of Photo 1000 (2534). A portion of the bungalow is visible on the right with the garden in front. A European woman is standing in the garden and servants are nearby. A better view of the bungalow is at Print 39. Approach to the palace. Aqueduct built by the Moors at Algeciras in SW Spain. A rather dark print: 'No. 97 shows the outskirts of the camp on another side, and just before departure. To the left, behind the tree, a number of camels are already laden with their kajawars - square baskets of rope stretched on a strong wooden frame - in which saucepans and cooking-pots of all kinds, provided they be of metal, are carried. Just beneath the tree a cart is being packed. In mid-picture more camels are being loaded, or will be, so soon as the servants by the well shall have finished their last lingering pipe. To the right an elephant, with howdah, is waiting for some gentleman of the party, who apparently, from the absence of a battery, does not intend to shoot today.'[Carbon print, 135x96mm]. Archaeological Reconnaissances, fig. 15: 'Pool formed by stream at foot of Murti hillock.' Archaeological Reconnaissances, fig. 57: 'Ravines to south of Chakchak Pass, Rudan.' Archaeological Reconnaissances, fig. 70: 'Sea face of ruined fort, Bang, Siraf.' Archaeological Reconnaissances, fig. 74: 'Ruined mill-tower and aqueduct, Tang-i-Lir, Siraf.' Archaeological Reconnaissances, fig. 76: 'Foundation walls of ruined houses, Siraf.' Archaeological Reconnaissances, fig. 78: 'Tomb below fort of Demaghah-i-Gora, Warawi.' Archaeological Reconnaissances, fig. 83: 'Fortified hamlet, Hajiabad, above Warawi.' Archaeological Reconnaissances, fig. 87: 'End of Qanat at eroded ravine, east of Sabzabad, Bushire.' Archaeological Reconnaissances, fig. 88: 'Remains of eroded masonry of well at Chah-buland, Bushire.' Army camp in the woods at Tarunda, Wanga Valley.Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Ascetic seated beside the spring. Duplicate at Photo 10/18 (80). A second copy of no. 159. Duplicate negative only, no print. A second copy of no.160. Duplicate negative only, no print. A series of low stone huts running in terraces along the hillside. A shikara is among the craft in the foreground. A slightly closer view of the castle, from the same direction. A slightly closer view than print 32. A slightly more distant view of the group of pots seen in print 132. A small part of the town at the left, view looks along the valley. Prints 33-35 appear to form a panoramic view of the town. Duplicate at Photo 92/4 (47). A somewhat dark and indistinct view of the fort ramparts. Duplicate at Photo 1008/10 (122G).[203x152mm]. A somewhat more distant view than print 8. A stereoscopic pair, similar in composition to print 16.[Salt print, 142x174mm]. At unidentified location. Aurunzeb's Mosque in distance. Avenue in the gardens Avenue of chenars. Avenue of palms in the gardens. A very over-exposed negative. Duplicate negative, no print. Bab-al-Hadid is near the castle on Mount Silpius above the town. Bachhraj Ghat in foreground. Baggage animals and porters on the road, with Frederick Williamson seated on pony at head. Baggage being loaded onto elephants.[Printing-out paper, 107x63mm]. Baggage being unloaded from elephants at roadside.[Printing-out paper, 108x48mm]. Baggage train crossing the pass. Baggage yaks at the head of the pass. Bailey and Morshead's tent, pitched in front of the monastery. Only the outer fly of the tent was brought from Kapu, in order to lighten the load. As it happened, there was a heavy storm that night and even in the shelter of the monastery porch their clothes and bedding got soaked (No Passport to Tibet, p. 77). Bales of cotton stored in a large open area.[Silver printing-out paper, 137x82mm]. Baluchi group (distant) walking away from camera towards the natural arch in the rock.[Gelatin silver print, 149x209mm]. Bamboo bridge across the Ammo Chu under construction. Bamboo footbridge. Bamboo suspension bridge over the Tara Hka river.[Gelatin silver print, 131x81mm]. Bamboos with tents pitched beneath in foreground, hills beyond. Banyan tree in Barrakpur Park. Banyan trees in Guindy Park, near Madras, the country residence of the governors of Madras. Carte de visite size print. Barges berthed at a ghat, with a carpet laid out over the steps down to the water. 'The Residency...is a mile away up-stream...These boats with the awnings are carrying toward the Residency the Viceregal guests of the native ruler of Cashmere; they have just come from the Museum a few rods away. Stereoscopic pair. Barley hanging from wooden frames. Barns and houses beside the river. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 175. Barns and houses with steep hills beyond. Bastion and pagoda on the Kunming city wall. Bathing place in the Ganges, with village houses. Baulk of timber being transported on a two-wheeled buffalo cart.[Printing-out paper, 98x71mm]. Bazaar scene, with shoppers and market traders.[115x82mm]. Bazaar scene at Namhkok, with Shan standing in foreground.Duplicate print (and original negative) at Photo 92/9 (113). Similar view at print 60. Bazaar scene in Peshawar. Bazaar scene leading to Nakkar Khana or Music Gallery. Bazaar scene with a bullock cart in the foreground. Beach or river scene. Double exposure. Beach scene. Possibly the photograph described in Nicholas & Co's catalogue as 'Madras. No 49 The Surf'. Beach scene. Beam view of a local trading craft.[Gelatin silver print, 98x78 mm]. Bed of lurkspar in consulate garden.[110x83mm]. Bell, Dewan Bahadur Palhese and another European (Pyne?) standing behind low table, with Tibetans grouped on left. 'They supply grass for the ponies and firewood. They also lend some tents, mats, vessels for water, rugs, servants, etc. The coins, Tibetan sho (about �d) are placed in piles of 20 on a Tibetan table. This gift, or payment, is made on the morning of leaving each place. It is made by D.B. Palhese, and always in my presence, after he and I have decided how to give. Four piles of 20 each are placed, and one on top of them. Here are 15 piles, i.e. 300 sho, equal to about 12/-.' Small, square format print. Bell's wife with mounted escort on the road to Gyantse. Bengal list, pp. 264-265: 'In the Bawan-ganga defile are several rock-cut inscriptions in shell character on the road. They are said to be the marks of the hands and feet of Jarasandha and Bhima, who fought together until the former was slain.' Inscriptions not visible in the view. Bengal village scene with a tank in the foreground. Better quality print at Photo 355/3 (21). Biplanes on airfield, with fort in background. Blue-toned print. Blue-toned print. Blue-toned print. Blurred and dark snapshot of a timber raft on the Irrawaddy.[Printing-out paper, 140x82mm]. Blurred photograph. General view of mound. Blurred photograph. Blurred view looking over rooftops towards unidentified building. Boat, in the form of a rectagular wooden punt, being poled in the lake.[Gelatin silver print, 142x92mm]. Boating parties on the Hussein Sagar. Boat moored beside river. Boat pulling away from the landing place. Boats (possibly racing) on the Pyapon River. A very poor quality snapshot.[108x63mm]. Boats drawn up on the foreshore at Bimlipatam. Bombay locality? Bombay street scene, with festival procession passing. The taboot, or miniature shrine in the form of a mausoleum, is carried in the centre of the crowd. Boundary commission camp at Ho-pang.[Gelatin silver print, 140x82mm]. Bourne & Shepherd catalogue title: 'The Ganges at Gangootri'. Bourne & Shepherd catalogue title: 'View in Wanga Valley'. Bourne & Shepherd catalogue title: 'Wanga Valley'. Bourne & Shepherd view? Bourne & Shepherd view? Bourne No. 1133. Bourne No.1165. Bourne No.1168. Bourne No.1169. View of ghats and temples. Bourne No.1204. Bourne No.1208. Bourne No.1208. Bourne No.1303. Bourne No.1303. Bourne No.1323. Distant view with a tank in the foreground. Bourne No.1363. Bourne No.1442. Bourne No.1449. Bourne No.1458. Bourne No.1459. Bourne No.1462. Bourne No.1462. Bourne No.1466. Bourne's dark-tent is on the left. Bourne No.1468. Bourne No.1470. Bourne No.1471. Bourne No.1526. Bourne No.1529. Bourne No.1535. Bourne No.1537. Bourne No.1538. Bourne No.1539. Bourne No.1542. Bourne No.1543. Bourne No.1544. Bourne No.1546. Bourne No.1550. Bourne No.1570. Bourne No.1573. Described in the Bourne & Shepherd catalogue as, 'View of 'Dodee Tal' a beautiful little Lake east of Jumnootri and 12 miles north of the village of Agora, situated near the foot of the Jumnootri Peaks; on account of the difficulty of access, this lake, to the present time, has been visited by few European travellers'. Bourne No.1615. Bourne No.1727. Bourne No.1730. Bourne No.1732. Bourne No.1736. Bourne No.1744. Bourne No.1748. Bourne No.1771. Snow covered road. Bourne No.1800. Bourne No.1811. Bourne No.1833. Bourne No.1837. Bourne No.1838. Bourne No.1865. Bourne No.2393. Bourne No.258. Other copies of this print at Photo 54 (29) and 175 (105).Exhibited Museum of Sydney, Encountering India, 16 May - 17 August 1997. Bourne no. 261. View looking across valley towards snow-covered peaks, with deodars in the foreground. Although the photographer's signature has been trimmed from the bottom of the print, this is no. 261 in the Bourne & Shepherd catalogue. Note by Clara Younghusband beneath print reads: 'In the autumn of 1862 I went with Robert [Shaw, her brother] and the 3 children beyond Simla as far as Kolghur. This view is taken further up in the interior than we went. John [Younghusband, her husband] had been ordered to Lahore for a conference on the formation of the new police force. Col. Hutchinson and he named Inspector General.'[Albumen print, unsigned, 212x279mm]. Bourne No.279. Bourne No.534. Bourne No. 535. Bourne No. 540. Bourne No.776. Bourne No.786. Bourne No.9. Bourne No.90. Bourne No.970. Bourne No.984. Bourne view? Print has been cropped so name may have been removed. Bow view of Lawrence moored in the wet basin of the R.I.M. Dockyard. Bow view of the Indian troopship 'Crocodile' moored in the Suez Canal.[Albumen print, 264x227mm]. Box girder bridge under construction. Box girder railway bridge on stone piers at Mortakka (location not identified), probably in present day Madhya Pradesh. Boy seated beside halved coconuts drying in the sun to produce copra. Brendish and two diggers examining the burial ground. Brick and stucco slab with notice reading 'Kashi Raos. Rotten Row. Do ride daily please and see the result. November 1918. M.F.'[Sepia toned print, 129x80mm]. Brick gateway with tiled roofs. Bridge across the Jhelum in Srinagar city. A stained and faded print. Bridge and river with village visible in the valley beyond. Bridge and temple in foreground. Bridge of boats across the Indus. Bridge of boats across the Kabul River. Bridge over the Beas river. A stone nandi is in the foreground. Bridge washed away by floodwater. British sergeant seated beside a stream. Bucket dredger in foreground, port quarter view of steamer beyond. Buddhist monk and children standing beside a thatched building on stilts. Buildings in foreground looking towards mountains, with a group of chortens (stupas) in the left background. Caption note continues: 'A bird's-eye view, showing in the distance, at the entrance of the city, clusters of small tombs and relic-houses, and the cairn or pile of stones met with on approaching every Buddhist town. These are formed of stones deposited by the inhabitants, when bound on any enterprise, they having received them from the Lamas, inscribed with a sacred sentence predictive of success. The whole rests of the vast background of the Himalayas.' Buildings lining the Rewa Kunda tank. Bullock cart on the road. Bullock cart on the road through the forest. Bullock carts on the road. Bullocks laden with wool, with their keepers. Bullock teams attached to grinding wheels in the foreground, with brick kiln beyond. This is presumably one of the series of views by Thompson of irrigation works in the Krishna District which were shown at the Vienna Exhibition of 1873, although this particular photograph is not listed in the catalogue. Signed in the negative Ross Thompson Lieut R.E., 1863. Bungalow in the foreground. Bungalows, snapshots of friends, remains at Polonnaruwa. Bungalows in background. Bungalows on hillside. Burial cairn with Constabulary trooper standing on top of mound. Archaeological Tour in Waziristan, fig. 4. Burmese boat at creekside. A European is seated in the shade of the covered section.[99x80mm]. Burmese country boat moored at riverside.[75x109mm]. Burmese fishing boats with nets slung on poles above the boats. Burmese groups gathered on the grass in front of the city wall, presumably durbar a durbar of some kind. Only a small part of Government House is visible in the background. See also print 57, evidently taken on the same occasion. Burmese village in foreground. Busy bazaar scene. Busy market scene, with women carrying baskets of produce. Busy open-air market scene. Busy street scene, with Beato's photographic studio visible on the other side of the road. Print unsigned, but probably by Felice Beato. Busy street scene. Busy street scene in the bazaar. Busy street scene with bazaar in foreground and palace buildings beyond. Busy street scene with shops. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 156, there titled 'A street in Chia-ting Fu.' Busy street scene with traders, looking towards a massive gateway. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 236, there titled, 'The southern gateway, Tali Fu.' Busy street scene with traders. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 74, there titled, 'A busy centre in Western Yun-nan.' Busy street scene with traders. Cairns in foreground, with plain and mountain beyond. 'A second day of my halt at Dogan was utilized for the examination of a number of large stone heaps, obviously cairns, which attracted attention at a point known as Puzeh-sangareh at the foot of the low hills about 1� miles off to the NE. In two of those which were opened th earth in the centre contained fragments of bones, and in a third pieces of coarse pottery were found lying beside bones.' (Ancient Persis, p. 165, Map C3). Caisson under tow from the tug Kathleen. View from the pier looking towards the new harbour entrance. Camel among scrub, with hills beyond. Camel caravan boarding a ferry to cross the Suez Canal. This was the route of the ancient caravan route to Syria. Faded print.[Albumen print, 271x215mm]. Camel caravan crossing the river. Camel caravan in the Zarwa-Killi Defile. Note on reverse of print reads, 'Zarwa-Killi Tangi (defile) round to left just beyond Piaza. The camel convoys were caught crossing there this day last year & chopped up by the Mahsud - about 600 & several BOs [British officers] & men were killed here. It is a narrow defile, precipitous side, river rushing through & no track. Note how the strata lies all ways.' Camel caravan negotiating gorge. Camel caravan on a road in the Khyber Pass.[99x74mm]. Camel caravan on the road through the pass. Camel caravan passing through the frontier post from British India into Afghanistan.[Gelatin silver print, 138x79mm]. Camel caravan passing through the gate. Second copy neg at B.22957. Camel caravan resting.[100x75mm]. Camel caravans moving up the gorge: 'Here at this point the main gorge opens and provides a convenient halting place where the out-bound and in-coming caravans can pass each other and utilise the short break to replace broken ropes or adjust sagging baggage; or let stragglers catch up and lessen the risk of being picked off by lurking snipers.'[Gelatin silver print (modern print), 194x110mm]. Camels being ferried across the canal. Camels in foreground, with mountain ridge behind. Camel train carrying produce. Camp and houses at Sana. Camp in a glacial valley. Camp in foreground, mountains in distance. Camp in foreground, with Everest beyond. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 440x321mm]. Camp in foreground, with hill and stronghold beyond. (Ancient Persis Map C2). Camp in foreground, with mountains (largely cloud-covered) beyond. Camp in foreground, with pass and mountain beyond. Camp in foreground with peaks beyond. Duplicate negative, no print. Camp is situated in a mountainous landscape. Camp on riverbank, with cliffs in background. Camp scene, with Indian soldiers of the boundary commission escort, pack animals and baggage.[Albumen print, 227x189mm]. Camp scene, with porters loading camels. Camp scene, with yaks. Faded print. Camp scene; location unknown, probably in the Shan States. Camp scene. Camp scene at Kangan.[Silver printing-out paper, 103x76mm]. Camp scene in foreground, with mountains beyond. Camp scene in jungle clearing. A faded snapshot. Camp scene with a flock of sheep in the foreground. Camp scene with mountains beyond. Duplicate of Photo 364/1 (46). Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 77. Camp scene with mountains beyond. Camp scene with mountains in background. Camp scene with ponies and camels. A fort (?) is in the distance. Camp scene with porters. Camp set among trees. Campsite at Puling Sumdo, with European and porter in foreground. Campsite beside lake. Campsite in the snow at Tsona, with yaks on right. Campsite on the left bank. Another copy of this photograph can be found at Photo 1143/1 (7). For a note on the photographer attribution, see collection introduction. Camps scene in the jungle. See also Photo 92/3 (62). Camp with Tibetan tents on the bank of the Tsangpo River. 'Singma Kang Chung is a very pleasant camp surrounded by willow and other trees. The local Tibetans have put up some marvellous decorated Tibetan tents for our following.' (Lhasa Mission Diary, 21 August 1936).[Gelatin silver print, 141x92mm]. Canal scene. Canal scene. Canal scene. Canal scene looking towards girder bridge.Second copy neg at B.9980. Canal scene with local craft. Duplicate (later print) at Photo 792 (1255). Canal scene with local craft.Second copy neg at B.9978. Canalside scene, with labourers at work excavating the bank and loading spoil onto camels. A faded print.[Albumen print, 287x228mm]. Cane bridge over a river. Cane footbridge over an unidentified river. Caption cintinues: 'The highest hill seen is Gurgatop, near Gumbat & the peak to the S. of that, which is really just as high, is [?]Hukni in Shakardana. E.B.H. climbed it on 11/2/11.' Caption continues: '...on account of the difficulty of access, this lake, to the present time, has been visited by few European travellers.' Caption continues: 'As the axes of the hills lie north and south anyone travelling east and west has to go up and down several of them in a day's journey and find at the end he has made about eight to twelve miles easting. Camp in clearing in foreground, looking towards steep jungle-covered hills. Caption continues: ' Compare the muddy surface with the clean surface of the photograph below; both were taken in February 1919 after heavy rain.' Caption continues: 'Content 3000 million cubic feet sufficient to irrigate 75,000 [?] = 25,000 acres = 4059 miles.. Length of main canal 25 miles'. Caption continues: 'Lawrence College (centre right). Takia Hill behind it. Terraced village fields (centre left). Photo taken from stone tower built by Alexander's troops, 325 BC approx. Clouds obscure the view of the Rawal Pindi Plains'. Caption continues: 'Photo taken on the occasion of the Viceroy's visit to His Highness the Maharajah of Jodhpur. Lord & Lady Goschen paid many surprise visits to un-known parts of the town & the informal nature of these excursions enabled Lady Goschen to do several of her well known paintings which we hope to see on exhibition shortly in London, August 1929'. Caption continues: 'Scott had crossed the Nam Hka rather against his will. He wanted to get on and reach the chiefs of the Wild Wa. They claimed that Monglem was theirs and had been taken from them by the Chinese'. View looks across the valley towards the town and mountain beyond. Photographed during the Second Wild Wa Expedition. Caption continues: 'The Durrah Viaduct crosses over from the south to the north side of the gap.' Caption continues: 'The last few miles are one continuous rapid or lasher which forbids its use for navigation. The charming group [of buildings on the far shore] with the little temple amid the palms adds interest. Men can be seen swimming the river, which is obviously not too rapid here'. The view looks along the Nam Teng at Ta Mong Kai. Caption continues: 'The Salween here is about 250 yards broad with a swift current. On the west there is a steep ascent of 900 feet. There is exceedingly little camping ground on either bank'. General view looking along the Salween at the crossing point. Caption continues: 'The view is taken from the East Gate. Mandalay Hill is seen in the distance. The trees near the foreground are Palmyra Palms, from the sap of which the natives distil a coarse spirit'. Caption continues: 'This Tank or Miniature Lake (Krishna Sagar) was excavated during a famine by Rai Krishna Ram of the Burdwan Family towards the end of the 17th Century. In this Tank, while swimming, his son and successor Rai Jagat Ram was foully murdered by one of his enemies. This Tank abounds in fish, but since the tragedy, the Head of the Raj Family is supposed neither to drink of the water nor eat of the fish thereof'. Caption continues: 'This view shows the Durrah Valley which stretches for miles between the two ranges of hills.' Caption continues: 'To watch this route the Siamese established a post in 1889-90 on the right bank of the stream. The English were opposite. The Union Jack can be seen outside the tent of the Political Officer (Scott)'. See also Photo 92/3 (67). Caption continues: 'View from Kashmir Point hillside. Centre (top) Northern Command on the middle peak, centre (right) shows Pindi Point with stone tower built by Alexander's troops, 325 BC. Murree Bazaar, centre (front). Murree Mall is hidden behind tree at far right...'. Caption continues: 'We used to sit on the rustic bridge in the foreground and catch small trout which were very good if put quickly into the frying pan. The mountains rose almost perpindicularly on all sides and the sun hardly reached the water'. Captioned 'Sinclair Falls' on reverse of print. Captioned and numbered in the negative. General view looking along the river, with buildings and ghat on the left. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1391). Captioned and numbered in the negative. View looking across the Narmada from the island towards the ghat and the temple. Captioned and numbered in the negative. View looking across the Narmada from the island towards the ghat and the temple. With the Rao of Mandhata's Palace conspicuous on the hillside behind. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1393). Captioned and numbered in the negative. View looking along the riverbank towards the ghat and the Onkar Temple. Photograph taken during the Western Circle survey season of 1893-94. Another copy of this print at Photo 1009/2 (1392). Captioned in pencil on the reverse, 'Srinagar, Dal Lake', but appears to be a view along the Jhelum, with Hari Parbat Hill in the distance. With houseboats moored along the banks.[Captioned and signed 'Holmes 158' in the negative, 293x241mm]. Captioned on reverse: 'View on march from Gabri to Nahote looking towards Kaji Nag.'[Silver printing-out paper, 96x120mm]. Caption note continues: 'The bottom of the fall is hidden by the glacier. High up at the back can be seen the Bul Ush Glacier, from which the water of the fall comes. A 'spout' fall can be seen on the left of the picture.'[Gelatin silver print, mounted on card with typescript caption, 193x304mm]. Caption notes read: 'A project to utilise the power of the falls, for the production of electricity, is now in the course of execution and is calculated to supply the Kolar Gold Fields with 4,000 H.P. The works are expected to be completed in eighteen months at a cost of �280,000.' Caption notes read: 'Half-way down is the Roarer, which leaps into a vast cup, and then rushes violently down to meet the first.' Caption notes read: 'Mysore was greatly extended by H.H. the late Chama Rajendra Wodeyar Bahadur, and the view shown here represents the improved arrangements and types of houses now adopted by the general population.' Caption notes read: 'On either side of the roadway there are open stalls or bazaars, where the tradesmen display their wares arranged in tiers of shelves, all within reach of the saleman, who sits ensconsed among them. Those of a trade generally flock together. During the busy hours of the morning and afternoon, the streets are so thronged with people as to remind one of the crowded thoroughfares of London.' Caption notes read: ' Sulekere, the largest tank in Mysore, and the second largest in Southern India, is 40 miles round, and its construction is assigned to the 11th or 12th century. The embankment is of no great length, but it is of stupendous width, height and strength, and has successfully stood the floods of centuries. The legend is that the daughter of a king built the tank as an expiatory act. The remains of a city are pointed out as having been submerged by the tank.' Caption notes read: 'This picture represents the falls at their lowest discharge, the most favourable time for viewing them, as, during the height of the monsoon the place is enveloped in a dense cloud of vapour..' Caption on reverse. Duplicate at ASIO 4583. Caption on reverse. Caption on reverse. Caption on reverse. Caption on reverse reads: 'Kistna Anicut. General view, left bank'. Duplicate print at ASIO 4580 where it's described as, 'Bezwada, Kistnah River and Anicut, from Col Orr's house'. Caption on reverse reads: 'Liquid Fuel Installations, Bombay Port Trust Workshops and Mazagon Sewri Reclamation, Bomby', Caption on the print reads: '2288. Mt. Everest. Telephoto, 29002'. Caption on the print reads: 'City gate of Prabhas Patan'. Caption on the print reads: 'Mangrole Shah Patan'. Caption on the verso reads: 'Chota Simla direction'. Caption on the verso reads: 'Dagshai. View of H and C Company Barracks, from Married Quarters looking towards Kasauli'. Caption on the verso reads: 'Fern covered tree during rains, Landour'. Caption on verso illegible. Another copy of this photograph can be found at Photo 1143/1 (32). For a note on the photographer attribution, see collection introduction. Caption on verso illegible. Another copy of this photograph can be found at Photo 1143/1 (38). For a note on the photographer attribution, see collection introduction. Caption on verso reads: 'Abbottabad. Mountain Battery'. Another copy of this photograph can be found at Photo 1143/1 (34). For a note on the photographer attribution, see collection introduction. Caption on verso reads: 'Dagshai. Showing School Rooms [and?] Church. Caption on verso reads: 'This is Dagshai. Some place eh'. Caption pencilled on back of print.[Albumen print, 247x181mm]. Caption reads: 'Built by Capt G. Williams, RE, No 6 Coy 'QO' Madras, S. & M., under Lieut C. Ainslie, RE, assisted by some 200 Civil Artificers and by detachments of the Bengal Sappers Pontoon Section when available. Caption reads: 'Panorama of Calcutta. 1. Dalhousie Barracks & Fort William, 2. The Strand & Eden Gardens, 3. Esplanade & Lord Hardinge's statue, 4. Government House & Gardens, 5. Mountains Hotel, Adjutant Genl's Office, 6. Dhurmtollah, 7 & 8. Chowringhee'. The print is currently framed and stored separately from the album. Negatives are numbered B.12464-12472.This view appears to have been shown at the 1862 exhibition of the Bengal Photographic Society: 'Our old friend Mr Rowe, has not contributed many pictures, but in those which he has sent there is a marked improvement...The Panorama of Calcutta is a fine Photograph, but the absence of moving life in so extended a space crowded with houses is felt in looking at this picture.' ('Journal of the Bengal Photographic Society', vol. 1, no. 2, 1 September 1862, p. 46.).[Albumen prints].Exhibited in British Library exhibition, 'Calcutta City of Palaces', 1990.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited, Brunei Gallery, London, 'India: Pioneering Photographers 1850-1900', 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Caption reads: 'This illustration shows a point of the road about midway between the camp and the Kheddahs, and will at once be recognised by those familiar with the scenes depicted in the Album'. This print is in the duplicate album, Photo 430/60. Caption untraced. River scene with mountains beyond. Captured field pieces drawn up inside the cantonment. Caravan ascending the winding road. Caravan crossing a snow-covered pass in Khorasan. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 381, there titled, 'Crossing the Saman Shahi Pass.' Caravan of bullock carts on the road. Caravan of donkeys in front of an unidentified building. Caravan of laden ponies on the road. Caravan of loaded ponies on the road, probably in Yunnan. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 62. Caravan of pack horses ascending the snow-covered pass. Stereoscopic view. Caravan of pack horses at edge of river. Caravan of pack horses moving along a road. Caravan of pack horses on the move. Caravan of pack mules arriving in camp.[Printing-out paper, 98x70mm]. Caravan of yaks ascending the pass. Caravan of yaks on the move. Caravan on the banks of the Euphrates, probably in Syria. Caravan passing along a road. Car being transported across the Sharavati on a ferry. Car crossing the road bridge over the Banjar. Cargo being unloaded from a steamer berthed at the wharf. Carriage on a road lined with palms. Cars and porters on road. Carte-de-visite.[Albumen print]. Carte de visite. Copy of an engraving. Carte de visite sized view, looking from the Spanish mainland. Carte-de-visite view, looking along the Cam towards St John's College.[Albumen print, 55x90mm]. Carte-de-visite view.[Albumen print]. Carte-de-visite view along the poplar-lined avenue.[Albumen print, 55x90mm]. Carte-de-visite view at the Marbul Pass looking towards the mountains, with forest in the foreground.[Albumen print, 55x90mm]. Carte-de-visite view from a hillside, looking down onto the Dal Canal.[Albumen print, 90x55mm]. Carte-de-visite view looking across the Dal Canal towards a poplar avenue.[Albumen print, 90x55mm]. Carte-de-visite view looking along the canal.[Albumen print, 90x55mm]. Carte-de-visite view looking along the Dal Canal.[Albumen print, 90x55mm]. Carte-de-visite view looking along the poplar lined Dal Canal at Srinagar.[Albumen print, 55x90mm]. Carte-de-visite view looking down onto the town from the hillside above. A somewhat faded print.[Albumen print, 55x90mm]. Carte-de-visite view of a mountain village.[Albumen print]. Carte-de-visite view of rock formation.[Albumen print, 90x55mm]. Carte-de-visite view of the beach.[Albumen print]. Carts drawn up in front of building. Cascades on the river. Catamarans on the beach.[Gelatin silver print, 98x78 mm]. Cattle approaching a ford.[Gelatin silver print, 98x78 mm]. Cattle being watered in the river, with town walls in background. Cattle drinking in a river, probably the Narbada at Maheshwar. Cattle drinking in the tank. Cattle grazing. Circular image. Cattle grazing at Pahlgam. Cattle grazing in a field at Kishtwar. Central section (very narrow) of five-part panoramic view, comprising prints 149-153, of mountain scenery. Looking towards Kanchung La. Central section of a three-part panorama comprising prints 19-21. Pencilled caption on the reverse identifies the following locations: Manora, Oyster Rocks, cricket match, Gymkhana, badminton courts, tennis courts. Central section of a three-part panoramic view, looking along the wadi towards the surrounding mountains, with a printed key beneath the images identifying the various landmarks. Central section of a three-part panoramic view formed by prints 2-4.[Printing-out paper, 152x112mm]. Central section of three-part panoramic view, comprising (left to right) prints 449, 445, 450 (second exposure of middle section), 446. The central and right-hand sections are reproduced as Innermost Asia, vol. 2, fig. 430: 'Panoramic view from Shitam Pass to west (left) and north-west (right). For photograph connecting this view with fig. 429, see Fig. 427 [print 449].' Central section of three-part panoramic view, comprising prints 12-14. View over mountains, with the Indus Valley beyond. Additional caption written on album page: 'View from Banj Peak to N.E.' Central section of three-part panoramic view, comprising prints 330-332. This section shows part of the Shuktri Lingka (park), with the Jo Kang Temple in the distance. Central section of three-part panoramic view, comprising prints 411-413. Central section of three-part panoramic view, comprising prints 51-53. Central section of three-part panoramic view, comprising prints 9-11. Distant view of stupa and vihara remains. Plate 9 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Central section of three-part panoramic view. looking towards mountain peak. The panorama comprises prints 261-263, with variants of each print at 261a, 262a, 263a. Central section of three-part panoramic view (adjoining sections missing). View towards mountains, with group standing in foreground. Central section of three-part panoramic view comprising prints 384, 387, 389. View across cultivated fields towards entrance to gorge. Central section of three-part panoramic view from Chini-bagh, the British Consulate at Kashgar; adjoining sections at prints 296 (left) and 295 (right). (I.A. Map 2, D2). Central section of three-part panoramic view looking across Alai Valley towards mountains, comprising prints 316, 322 and 325. Centre section of three-part panoramic view. Changing the wheel on R.B. Holmes' car. Children bathing in the moat of the fort at Chengalpattu. Children playing on swings and slide donated to model village by Sir Montagu Butler.[Gelatin silver prints]. Chinese fishing nets along the waterfront.[Gelatin silver print, 147 X 99 mm]. Chinese group on a country road. Chromolithograph showing the location of the accident, with important points marked. Durand was crushed against the lintel of the gate while riding in an elephant howdah. Circular image, faded; view looking towards houses. Circular image, faded. Distant view of the domed tomb. Circular image, faded. View looking towards the town. Circular image, very faded. Circular image, very faded.View looking towards the gorge. Circular image, very indistinct and faded, of the plain at Bajgiran. Circular image; distant view of the minaret at Sabzevar. Circular image. Distant view of paddle steamer on the Shatt al Arab. Circular image. Circular image. Circular image. Circular image. Circular image. Circular image. Circular image. Circular image. Very faded print. Circular image. View looking along the gorge. Cist tomb seen in prints 16-17, with top and side slabs removing, showing human remains inside.[Gelatin silver print, 153x107mm]. City Palace viewed from the opposite bank of Pichola Lake. City view. City view. City view from a minaret with another minaret in the foreground. Cliff edge, with river entering cave beneath. Cliff road at left. Cliffs between Dogan and Ij. (Ancient Persis Map C2-3). Closer view. Closer view from the side of the cantilever bridge across the Po Tsangpo. Closer view of base of mound, showing stone foundation course. Closer view of blockhouse under construction. Closer view of bridge, with figures and ponies. Closer view of caisson, looking to seaward, with steam tug Kathleen at left. Closer view of camels on the road. Closer view of dust clouds. Closer view of fountain. Closer view of geese on their nests and in flight above. Closer view of glacier. Closer view of hill fort. (Ancient Persis Map C2). Closer view of lake. Closer view of mound, with figures on top. Archaeological Tour in Waziristan, fig. 10. Closer view of mound. Closer view of part of site seen in print 141. Closer view of remains on hillside. Closer view of same site as seen in print 14. Closer view of the aqueduct seen in print 14.[Albumen print, 217x273mm]. Closer view of the area also seen in print 327. Archaeological Reconnaissances, fig. 71: 'Rock-cut graves and stairs of graveyards, A, also grottoes, Shilau Valley.' Closer view of the banners seen in print 165. Closer view of the falls. Closer view of the fort, with the shore of Yamdrok Tso in the foreground.[Gelatin silver print, 140x92mm]. Closer view of the glacier at the head of the Liddar Valley. Closer view of the town from the lake. Closer view of top of falls. Closer view of vessels at work at new entrance. From left to right are the hopper dredger Triton, the crane tug Wenlock and the tug Kathleen. Closer view of wall. Closer views of yaks. Closer view Close-up of ice formation. Close-up of ice formations. Close-up studies of succulent and cactus, rock plant and unidentified tree at Ootacamund, leaves of blue gum, bohinia flower and tithonia bloom. Close-up view of bloom, with measure placed across the flower to indicate its size. Close-up view of construction of pier, with steam engine in foreground. Close-up view of dredging machinery, supported on sheerlegs. Close-up view of flowers. Close-up view of flowers. Close-up view of head of glacier. Close-up view of ice formation. Close-up view of plant. Close-up view of the thatched bridge across the Nam Lwi at Monglem in Chinese territory; visited by Scott during the Second Wild Wa Expedition. Close view. Close view of a group of thatched houses on stilts. Close view of artefacts photographed at find-spot with measuring rod. Archaeological Reconnaissances, fig. 22: 'Pots and iron jar from burial cairn, II.iii, Damba-koh.' Close view of base of ruined stupa. Close view of base of what is described in Gedrosia, fig. 55, as the central pillar after excavation. Close view of body at find-spot. Close view of brick piers. Caption taken from print 70, which shows similar structures.[Albumen print, signed 'J. Lloyd 30.3.76' in the negative, 278x220mm]. Close view of burial spot, with measuring scale placed on ground. Close view of cairn, with figure standing beside it. Close view of cairn.On the Makran coast west of Gwadar. Gedrosia, fig. 22. Close view of cairn. Close view of cairns, with figure standing amongst them. Close view of cairns, with Stein's dog Dash sitting amongst them. Close view of cairns. Close view of cane footbridge. Close view of cinerary pots, photographed at find-spot at foot of east wall. Gedrosia, fig. 18. Close view of cinerary urn, in situ, with book placed beside it to indicate scale. Close view of cinerary urn, in situ. Archaeological Tour in Waziristan, fig. 7. Close view of cliff face from below. Close view of corner of wall, with two pots at the angle. This is the same room that is identified as I.vii in print 250. Close view of crushing plant, with annotations in the negative indicating the following pieces of machinery: Blake Marsdeb screens and elevators, Baxter crushers, tubs at top of incline with rubble stone.[Silver printing-out paper, 138x81mm]. Close view of crushing plant in operation.[Gelatin printing-out paper, 139x80mm]. Close view of decorative work above squinch arch. (Ancient Persis Map, B3). Close view of east face of mound. Archaeological Tour in Waziristan, fig. 12. Close view of end of massive 'gabarband' wall. Gedrosia, fig. 64. Close view of end section of wall, with measuring pole placed vertically. Saka-kalat is about three miles north of Jawarji. Close view of end section of wall, with measuring pole placed vertically. Close view of entrance to tunnel. Close view of excavated area. Close view of excavated area in side of mound. Close view of excavated grave. Close view of excavated rooms a and b, with Naib Murad seated above the wall. Gedrosia, fig. 7. Close view of excavated section of wall. Close view of excavated stupa base, with measuring pole placed horizontally along one of the stone courses of the base. Close view of excavated stupa base. Close view of field worker, posing with spade for the photographer. Close view of flowers. Close view of flowers. Close view of fort, with houses of the town in the foreground. Close view of geese and nests. Close view of gentians growing on a hill overlooking Drepung Monastery.[Gelatin silver print, 153x105mm]. Close view of group of pots, photographed against the base of a cairn. Close view of group of pots, photographed at find spot, with measuring rod. Archaeological Reconnaissances, fig. 37: 'Burial deposit of pottery, B.i, at Khurab.' Close view of houses clustered on the hillside in the centre of the town. Close view of inscription, with measuring pole. Close view of inscription. Close view of inscription on tomb.[Gelatin silver print, 136x87mm]. Close view of inscription tablet relating to the Madhmeshvar Pick-up Weir, reading in part: 'The weir is constructed to supply water to the Godavari right and left bank canals which are to irrigate and protect from famine a portion of the Godavari Valley. The water is supplied from Lake Beale, 51 miles distant, on the Darna River...This forms part of the project surveyed for and designed by Mr H.F. Beale...assisted by Mr C.J. Hansoti...The scouring sluices were remodelled and weirt crest raised in 1915 by Mr C.S.C. Harrison...The principal officers and subordinates employed on construction of the weir were: Mr H.O.B. Shoubridge...Mr C. Blois Pooley...Mr J.E. McDougall...Mr Anant Ganesh Shirolkar...Commenced in 1907. Cost Rs. 14,07,000. Completed in 1916.'[Printing-out paper, 201x278mm]. Close view of interior of structure I, after excavation. Gedrosia, fig.54. Close view of lark's nest. Close view of market trader, seated on ground with baskets of produce. Close view of memorial inscriptions relating to the Yule family on the walls of the ruined building surrounding the burial plot.[Albumen print, 203x157mm]. Close view of monument raised to officers and men of the 2nd Battalion, The Prince Albert's Somersetshire Light Infantry. Close view of mule and muleteer in enclosure. Bell's typescript index contains the following note: 'The walled-in enclosure enclosure containing the spring at the foot of Chakpori, from which the Dalai Lama's water supply is taken. In the foreground one of the muleteers with mule. Over bucket on mule is a white cotton cloth to keep water clean. Another bucket at the foot.' Close view of nest. Date given as 29 June, but probably in error for May. Close view of nest. Close view of nest. Close view of nest with eggs. Close view of orchids growing on a rock. Close view of partially excavated tombstone. Archaeological Reconnaissances, fig. 81: 'Tombstone with Kufic inscription, Siraf.' Close view of pot, photographed with measuring scale. (Ancient Persis Map C3). Close view of pots laid out on tripod, with measuring scale. Close view of recess seen in print 255, with relief carving in interior. Close view of regulator.[Printing-out paper, 374x294mm]. Close view of regulator and scouring sluices.[Printing-out paper, 369x294mm]. Close view of relief sculpture carved on rock face. Close view of relief sculpture on rock face. Close view of remains, photographed at find-spot befoe clearing. Gedrosia, fig. 26. Close view of rock-cut sculpture, from the side. (Ancient Persis Map C3). Close view of ruined walls of structure, before excavation. Gedrosia, fig. 52. Close view of ruins. Close view of scouring sluices of the Madhmeshvar Pick-up Weir.[Printing-out paper, 372x278mm]. Close view of sculpture, from the side. (Ancient Persis Map C3). Close view of section of excavated area. Close view of section of excavated stupa base. Close view of section of excavated wall. Close view of section of massive 'gabarband' wall. Gedrosia, fig. 63. Close view of section of mound. Close view of section of ruined wall. Close view of section of wall of excavated room, with measuring pole and three members of Stein's team standing behind. Close view of site, with Stein seated on excavated wall in foreground. Close view of steps at base of stupa. Close view of stone circle. Close view of target hanging from wooden frame, with the Lhalu Mansion in the background. See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 56-57. Close view of tench and wall. Close view of terracotta images and other religious artefacts attached to the exterior of the cave. With a European figure (Oertel?) leaning against a rock in the left foreground. Plate 39 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893).[Albumen print]. Close view of the base of a large ficus tree, with a European posed among its roots to indicate scale.[Albumen print, 97x150mm]. Close view of the Burmese pagoda in the Eden Gardens. Close view of the dam on the Ganga Talao. Close view of the position. See note at print 143.[Gelatin silver print, 131x81mm]. Close view of the right-hand side of the pit seen in prints 8-9, showing pottery, beads and human remains. Pencilled note on the reverse reads: 'Look at the beads under a strong lens. Note this one particularly [diagram] (to the left front). Note also crystal bead (in front) and you can see the hole has been drilled from each end [diagram] and the holes only just meet.'[Gelatin silver print, 145x104mm]. Close view of the waterfall near the Marble Rocks. Very faded print. Close view of top of mound, with diggers posed for the photographer. Close view of trader seated in shade of an umbrella. Close view of water pouring out of sluice.[Gelatin silver print, 289x233mm]. Close view of work under way on foundations.[Printing-out paper, 288x213mm]. Cloth-bound portfolio measuring 460x365mm, with title 'Malay Peninsula' stamped on front cover beneath a laid-down photogravure image of a tiger in a trap. The portfolio contains a separate loose titlepage, a coloured map of the Straits Settlements and the Federated Malay States dated 1907, and 63 loose leaves on which are mounted photogravure reproductions of views of Singapore, Penang, Malacca and the Federated Malay States. Most of the leaves contain multiple images, with the total number of individual views amounting to 154.Awaiting detailed listing. Clump of irises on a riverbank. Cocks on terrace in foreground, with Potala in the distance. Collection of 10 small snapshots of Indian scenes, the majority taken at Murree, a few at Jaipur: street scenes, general views, portraits of friends.[Gelatin silver print, mainly about 80x55mm]. Collection of artefacts grouped in a semi-circle beneath a tree. Collection of artefacts grouped near riverside. Collection of gufas - circular craft somewhat like large coracles - on the bank of the Tigris.[Gelatin silver print, 106x64mm]. Collection of urns, photographed at find-spot. Collotype reproduction. Collotype reproduction. Collotype reproduction. Coloured half-tone postcard. Coloured postcard. Coloured postcard. Colour postcard. General view of the tower. Message reads: 'This is where the Parsees put their dead. Observe the vultures ready to devour anything that is put in their way. I have written to Harrie. Got your letter today. With love, Jim'. Colour postcard view of the ghats at Benares, looking towards Aurangzeb's Mosque. Message reads: '3/1/05. This is where the brassware comes from. I am sending you a letter with this, Jim'. Colour reproduction of a watercolour view of the fort (by W.D. Holmes?), pasted into a Christmas card issued by the Governor, Sir Ralph and Lady Griffith. Commercially produced print of Naples, probably purchased by Stotherd during a journey between India and Britain in 1891. Companion photograph to print 1258. Compare print 33. Compare with Print 103. Completely indistinct image. Conifers in foreground. Conifers on hillside. Construction work in progress. Construction work in progress on north arm of harbour jetty. Construction work underway in foreground. Continuation from print 62 of panoramic view. Continuation of print 176.[100x75mm]. Continuation of print 182.[100x75mm]. Continuation of print 208.[100x75mm]. Continuation of print 27. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. Continuation of print 27. Continuation of print 35, with the Roman Catholic Church (see print 46) visible in the distance.[Albumen print, signed 'Townshend Phot.' in the negative, 277x211mm]. Continuation of print 37.[Albumen print, signed 'Townshend Phot.' in the negative, 277x215mm]. Continuation of print 46. This section of the panorama shows more shipping, with steamers moored near the jetty in the foreground, and a number of three-masted sailing ships and barques at anchor in the stream. Continuation of print 657. Continuation of route map seen in preceding slide. Continuation of view from print 41. Convoy of pack ponies. Coolie labour hauling a boat up-river. Copy negative of 163. Copy of an original print. A note by A.G. McCrae on the verso reads: 'Oil field developed by Indo-Burma Petroleum Co (Steel Bros & Co). In 1920s a training well was built in to the river and wells sunk in river bed, very successfully. Yanangyat is on right bank of Irrawaddy above Chauk'. Copy of a plan. Copy of a Tibetan (?) painting. Reproduced in The Geographical Journal of December 1901. Duplicate at Photo 784/1 (18). Copy of sketch plan of the garden, drawn by Gordon Sanderson. Copy print, poor quality. General view looking towards mountain. Copy print. Copy print only. Corner of verandah of rest house in foreground, temple pagodas beyond. Countryside and fields, with railway line in foreground. Couple with loaded bullocks walking beside the Nyang Chu. Cricket team group. Cropped version of print 2835. Crossing rapids on horseback. Crossing river by means of ropes and pulleys. Crowded ferry pulling away from the bank of the Son River. Crowded scene on the platform of the railway station in the holy city of Kurukshetra. Note police cordoning off crowds with lathis. Crowded scene with pilgrims leaving the station. Crowded street scene. Duplicate, in better condition, at Photo 447/3 (48). Crowd gathered on bank waiting to board a river steamer, partly visible in the background. Original and duplicate negatives only, no print. Crowds bathing on the beach at Bombay. Crowds gathered round ticket office. Curzon's visit to Geok-Tepe is described on page 76 of his Russia in Central Asia (1899). Cut and cover tunnel work in progress near the Moilongdisa Bridge. Dam at Murramsilli, presumably connected with the Mahanadi Canal. Dashashvamedha Ghat in foreground, Ahalya Ghat beyond. Date palm plantation. Deosai Plateau, scenes on the Indus at Skardu, etc. Derelict palace buildings at Srinagar. Described i, 31-2. Described in J.D. Beglar, Report of a tour in Bundelkhand and Malwa, 1871-72... (A.S.I., vol. VII, Calcutta, 1878), p. 82: 'To the south of the city, at a distance of about half a mile, is a hill of a very remarkable appearance; a huge mass of rock rises sheer and abrupt from the top of the conical hill below, presenting at a distance the exact appearance of a fortified castle. This, however, is not a castle, but a natural solid mass of rock, thoug it is evident that it could, and probably was, made use of as a fort. At the foot, or rather some little way above the foot of the cone, however, there runs a wall built of huge uncemented stones, 18 feet thick at the present crest...The entire place is deserted, and the inhabitants of the adjoining city could give me no information whatever regarding it; it has not even a name that I could hear of...A photograph of this remarkable hill has been taken, and with the aid of a magnifier, the lines of fort walls may be seen; the view was taken from the north-west gateway of the great mandir [the Udayeshvara Temple] which will presently be noticed.' Described in Nicholas & Co's catalogue as 'Falls of the Sivasamudrum, Mysore. No 1 The Great Fall at Gangan Chiki, showing the cloud of mist rising from beneath'. Described in Nicholas & Co's catalogue as 'Falls of the Sivasamudrum, Mysore. No 2 The Mare's Tail, a Fall to the right of the Great Fall at Gangan Chiki'. Described in Nicholas & Co's catalogue as 'Falls of the Sivasamudrum, Mysore. No 8 Ramasawmy's Bridge at Sivasamudram'. Described in Nicholas & Co's catalogue as 'Madras. No 32 Indian Well and Foliage'. Description in Taylor's List of pictures: '[No IX] Stone bridge at Bhatgaon, a large city situated about 8 miles from Khatmandoo. In the back ground is a part of the City'. Description in Taylor's List of pictures: 'No V. The Ghat and Bridge of Pushputtinath shewing a part of the Bagurutty where all the members of the Royal family of Nepal are burnt after their decease and where the Royal suttees used to take place'. Description in Taylor's List of pictures: 'No VI. The Fukeer's cave over the Bagurutty at Pushputtinath. The Devotee himself is seen seated in front of the cave which is surrounded by a dense mass of foliage'. Description in Taylor's List of pictures: 'No XIV. View of the Valley and City of Khatmandoo from the hill at Sumbhoonath'. Desert and dunes west of Lou-lan. (I.A. Map 29, C4). Desert scene, possibly at site L.R., west of Lou-lan. (I.A. Map 29, C4). Despite the caption, this is in fact a duplicate of Print 31. Devotional carvings and Buddha images inside the Kawgun Cave.[Albumen print]. Dhobis in foreground, Marmalong Bridge, built by the Armenian Petrus Uscan in 1726, beyond. Carte de visite size print. Dhobis washing clothes in the Gumti at Lucknow, with the railway bridges across the river in the background. Stereoscopic pair. Different view from Print 67. Disstant view of a town on a river. Distanr view of bridge. Distant (and indistinct) view. Distant (and indistinct) view of fort, with river in foreground. Distant and indistinct view of the fort.[97x72mm]. Distant and indistinct view of the Red Fort from the Jami Masjid. Small snapshot. Distant panoramic view, probably taken from Darjeeling. Distant snapshot. Distant snapshot. Distant snapshot of a two-wheeled trap being pulled along a road, possibly en route to Inl� Lake. The passenger is a European woman. Distant snapshot of group with horses. With two figures identified as 'W.' [Clifford Boardman Winter] and 'M.W.' [Edmund Perceval Mainwaring-White].[99x75mm]. Distant snapshot of Winifred Wilson on horseback, probably in the Zagros Mountains in the Bakhtiari va Chahar Mahall Province, on the journey between Esfahan and Ahvaz (see note at print 239). Distant snapshots. Distant snapshot view. Distant snapshot view. Distant snapshot view. Distant snapshot view of a glacier. Distant snapshot view of the Pichola Lake and palaces. Distant view, city walls in foreground. Distant view, framed by trees in foreground.[Gelatin silver print, 111x153mm]. Distant view, glacier in foreground. Mount stamped: 'Copyright Mt. Everest Committee.'[Green-toned carbon print, 431x336mm]. Distant view, looking across paddy fields towards the waterwheel. Duplicate print (and original negative) at Photo 92/9 (158). Distant view, looking across River. Distant view, looking across the bridge of boats across the Ganges towards the railway station (barely visible) in the distance. Distant view, looking across valley towards Percy Molesworth Sykes' bungalow. Faded print.[105x131mm]. Distant view, looking along the bank of the Gumti towards the palace.# Distant view, looking down from hillside. Distant view, looking down onto Lhuntse Dzong and along the Kuru Chu Valley. Distant view, looking down onto the caravanserai.[100x72mm]. Distant view, looking down onto the mound. Distant view, partly obscured by trees. Distant view, poor condition. Distant view, poor quality. Distant view, spire of St Mary's Church on the skyline. Carte de visite size print. Distant view, trees in foreground. Distant view, with a group of Stein's pack animals visible on the road. (Ancient Persis Map B1). Distant view, with military baggage ponies on the road below.[Gelatin silver print, 140x80mm]. Distant view, with mountains beyond. Distant view, with the Mussaman Burj in the right foreground. Distant view, with the River Musi in the foreground. Distant view, with wooded hillside in the foreground. Distant view. (Map D4). Distant view.[103x77mm]. Distant view.[98x73mm]. Distant view.[Gelatin silver print, 141x92mm]. Distant view.[Gelatin silver print, 91x53mm]. Distant view.[Gelatin silver print, 98x78 mm]. Distant view. A copy negative accompanies the print. Distant view. A man is sitting in the foreground holding a crossbow. Distant view. An indistinct image. Distant view. Another copy at Photo 1224/1 (50). Distant view. A small format, rather uninformative print. Distant view. Duplicate (in poor condition) at Photo 447/5 (37). Distant view. Duplicate at Photo 430/30 (37). Distant view. Faded print. Distant view. Left side of panorama. Distant view. Distant view. Panoramic view in two parts. Distant view. Poor quality snapshot. Distant view. Probably photographed by Gobindram & Oodeyram. Distant view. Right side of panorama. Distant view. Small, square format print. Distant view. Small faded print. Distant view. Snapshot. Distant view. Snapshot. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view. Distant view across lake towards mountains. Distant view across the Indus towards the Lansdowne Railway Bridge, with the fort on the left, and with a local boat moored in the foreground. Distant view depicts the Hiran Minar and Hathi Pol gate. Distant view from across a lake. Distant view from across harbour. Distant view from across the Nyang river. Distant view from a high vantage point overlooking the valley. Distant view from Gulmarg. Distant view from neighbouring hills, with mountains (Kanchung La, Chomiomo and Kinchenjunga marked in pencil) beyond. Distant view from the beach. Distant view from the beach showing the damaged pier. Distant view from the fort? Letterpress description reads: 'The accompanying photograph presents a bird's eye view of King George Park, a well laid out garden in a portion of the Phool-bag grounds, set apart for the use of the public and opened by His Majesty the King Emperor Edward VIII when he visited Gwalior in 1922 in his capacity as Prince of Wales. In the Park are the Zoo, the State Museum, the Ladies' Club and a marble statue of the Maharaja's grand-mother, set in a marble canopy amidst attractive surroundings. But the special feature of the Park is that it includes within its premises a Hindu temple, a Muhammadan Mosque, a Sikh Gurudwara and a Theosophical Lodge all built and maintained chifly[sic] at State cost. Here is an example of the catholicity of a Hindu Prince, a lesson for all governing powers'. Distant view from the hills opposite. Duplicate at Photo 430/30 (1). Distant view from the opposite bank of the Ganges. Distant view from the opposite hillside. Distant view from the river. Distant view from the road below. Distant view from the road of the Dalai Lama's private house at Chenseling (see print 56). Distant view from the south-south-west, showing the southern outskirts of Agra, the Taj Mahal and the River Jumna beyond. Distant view in winter. Distant view looking across a valley to opposite hill. Distant view looking across the bay. Distant view looking along a drive in the Memorial Garden. Distant view looking along hillside towards the town.[Printing-out paper, 140x61mm]. Distant view looking along the Gumti River. Distant view looking along walls towards the town of Sabzawar (Sabzevar).[103x78mm]. Distant view looking down on the fortified post. Distant view looking down onto rock-cut inscription. Distant view looking down onto the bazaar. Pencilled note on the reverse reads 'Chitral from my north verandah - you can see two of the towers of the Muhtar's fort in the distance.' Stereoscopic view. Distant view looking down onto the bridge from the hillside. Distant view looking over rooftops. Distant view looking south towards Kamet and the Himalayas. Distant view looking though trees. Distant view looking towards Nangaparbat.[Silver printing-out paper, 119x93mm]. Distant view of a 'laung-zat' or rice boat under sail on the Irrawaddy.[Printing-out paper, 97x70mm]. Distant view of a boat in a bay. Distant view of a bridge. Distant view of a bridge crossing a stream. Distant view of a bridge over a river. Distant view of a bridge over a river. Distant view of a bridge over the Narbada River. Distant view of a bungalow. In the foreground an Indian man is sitting in a tree playing a wind instrument. Duplicate at Photo 752/1 (58) where it's described as the 'General's House'. Distant view of a bungalow on top of a hill. Distant view of a cantilever rail bridge. Distant view of a car on the road. Distant view of a cart on a jungle path. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 272. Distant view of a cave with a campsite in the foreground. Another copy of this photograph can be found at Photo 1143/1 (29). For a note on the photographer attribution, see collection introduction. Distant view of a dak bungalow (?) on a hillside. Distant view of Aden. Distant view of a European couple driving over the bridge in their car. Distant view of a European couple on a footbridge. Another copy of this photograph can be found at Photo 1143/1 (11). For a note on the photographer attribution, see collection introduction. Distant view of a flock of sheep in the desert. Distant view of a footbridge over the Jhelum. Distant view of a footbridge with a herd of goats in the foreground. Distant view of a fort. Distant view of a group of horsemen. Indistinct.[Gelatin silver print, 88x106mm]. Distant view of a group of temple pagodas on a stone platform overlooking the river.[Albumen print, 148x95mm]. Distant view of a herd of kyang. Faded print. Distant view of a herd of kyangs. Distant view of a hill. The fort is not visible. Distant view of a hill range. Distant view of a hilltop fort. Distant view of a houseboat on the river. Distant view of a house on a wooded hill. Distant view of a line of camels following the route of the river.[Silver printing-out paper, 124x77mm]. Distant view of a man standing on a footbridge over rapids. Distant view of a member of Holmes' entourage standing in the river. Distant view of a military post. Distant view of an active volcano. Distant view of an Indian police/army unit by a river. Distant view of an unidentified South Indian temple. Distant view of a polo tournament at Naini Tal. Distant view of a road. Distant view of a rocky hill. Distant view of a rocky hill with a single palm tree on top. The foreground shows a rural scene with people washing clothes in a river. Distant view of a sailing boat.[Gelatin silver print, 98x73mm]. Distant view of a shrine. Distant view of a site under excavation. Distant view of a small stone bridge with an Indian group on top. Distant view of a small temple on rocks at Ulsoor Tank. Distant view of a snowy peak. Distant view of a suspension bridge. Distant view of a tank and small temple on rocks. Distant view of a town. Chanth ka Barwara? Distant view of a town. Exact location unknown, Rajasthan? Distant view of a train emerging from a tunnel. Distant view of a tunnel. A camp is on the extreme left of the view. Distant view of a village between Mussoorie and Chakrata.. Distant view of a woman sitting with a dog beside a mound of stones. Distant view of baggage train on trail along wooded hillside.[Gelatin silver print, 131x82mm]. Distant view of barracks and other buildings. Distant view of bazaar. Distant view of birds in flight. Poor quality print. Distant view of blockhouse under construction on neighbouring hill. Distant view of boats crossing the Dibang. The landslip referred to is no more than a light patch on the hills in the background. Distant view of breakwater. Distant view of bridge. Distant view of bridge. Distant view of bridge of boats. Distant view of bridge spanning a river. Distant view of buildings, looking along crest of ridge towards monastery, with houses in the foreground. Poor quality print. For a better view of Tawang, probably taken on the same occasion, see Mss Eur F157/324(20). Distant view of buildings. A very faded and yellowed print.[Albumen print, 102x76mm]. Distant view of buildings. Faded print. Distant view of buildings. Distant view of buildings. Distant view of buildings on summit of hill. Distant view of bungalow, a carriage in the foreground. Distant view of bungalow. Distant view of bungalows. Distant view of bungalows. Distant view of bungalows near the Beas river.. Distant view of bungalows on hill-top. Distant view of camels, with hills beyond. Distant view of camp, with jungle and hills beyond. Distant view of camp, with mountains beyond. Distant view of camp. Poor quality image, indistinct and faded. Distant view of camp. Distant view of camp. Distant view of camp. Distant view of camp. Distant view of camp. Distant view of camp. Distant view of camp. Distant view of camp. Distant view of camp at Datta Khel.[Silver printing-out paper, 202x150mm]. Distant view of camp in a clearing. Distant view of camp in a valley. Distant view of camp in a valley. Distant view of campsite. Distant view of campsite with mountains in the background. Distant view of camp with mountain in the distance. Distant view of cantonment. Distant view of cantonment. Distant view of cantonment. Distant view of cantonments. Distant view of cantonment Distant view of caravan on a Kachin hill road. Distant view of caravan on a narrow road along a rockface. Distant view of cathedral. Distant view of Chepauk Palace, with towers silhouetted against skyline. Distant view of city, partly obscured by cloud. Distant view of Coloba. Message reads: '26/9/04. It was in this district Mother lived when she was out here & where I drove the Sunday before last. With love to all, Jim'. Distant view of craft, with a line of Chinese fishing nets at the water's edge on the right.[Gelatin silver print, 98 X 78 mm] Distant view of cranes (in the Nyang Chu?). Very poor quality print. Distant view of dak runners. Distant view of dak runners house. Distant view of dam? Distant view of Delhi and its environs in three parts. The print is probably that listed in H.Hering's catalogue of Beato photographs as 'D' in the section 'India - Delhi (Second Series)'. The description reads: 'Panorama of Delhi, taken from HIndo Rao's House (In three pieces)'. Distant view of diggers on mound at Tal-i-siah, near Madavan village. (Ancient Persis Map C3). Distant view of diggers on skyline. (Ancient Persis Map B1). Distant view of dzong with hills beyond. Distant view of factory established by F.J.V. Minchin. Distant view of ferry crossing the Salween, with boundary commission baggage train on bank waiting to cross.[Gelatin silver print, 139x81mm]. Distant view of fields. Original glass negative, no print. Distant view of figure walking across sandslope. 'We were foolish enough to ride over it, but it was very hot. A man walking on it.' Distant view of fishermen. Distant view of footbridge, rapids in the foreground, snowy peaks beyond. Distant view of footbridge at Habibulla. Another copy of this photograph can be found at Photo 1143/1 (22). For a note on the photographer attribution, see collection introduction. Distant view of footbridge over rapids. Distant view of footbridge over the Lidder. Distant view of fort, with a camel caravan in the foreground. Distant view of fort, with River Jhelum in foreground. Distant view of fort, with ruined site in foreground. Distant view of fort? Distant view of fort. Distant view of Fort. Distant view of fort. Distant view of fort and Chand Minar. Distant view of fort and monastery, with river in foreground Distant view of fort and surrounding hillside. Distant view of fort and town. Distant view of Fort Battye, looking across the plains near Fatehabad. The post, established during the campaign and named after Major Wigram Battye of the Guides Cavalry who was killed there in April 1879, lies between Safed Sang and Rozabad. Second copy neg at B.7561. Distant view of fort on ridge. Distant view of frontier post. Distant view of frontier posts at Ahnai Tangi? Distant view of frozen waterfall. Distant view of game in progress. Distant view of geese on the lake. Distant view of glacier looking along a valley. Distant view of glaciers. Distant view of grazing herd. The nilgai (also spelled nilghau and nylghau) is the large Indian antelope Boselaphus tragocamelus. Distant view of group ascending the road up the pass. Distant view of group beneath wild apricot trees in blossom.[Gelatin silver print, 155x202mm]. Distant view of herders driving livestock towards a fortified post. Distant view of hill. With a rider on horseback in the foreground. Distant view of hill fort. Distant view of hills. Distant view of hill station. Distant view of hill station. Distant view of hill station with mountain in the background. Distant view of hills with dwellings in the foreground. Distant view of hill village. Distant view of Himalayan peaks. Better copy at Print 96. Distant view of holiday home. Distant view of Holmes' party on a mountain track. Distant view of Holmes' sister standing at the river's edge. Distant view of Holmes on opposite bank of river. Distant view of Ho-pong and the nearby conical hill. Distant view of house in open country. Distant view of houses, with (?)orchard in foreground. Distant view of houses on hillside. Distant view of houses on ridge, with campsite on hillside at left. Distant view of inscription on mountain side, apparently formed with white stone or rocks rather than carved into the ground. Distant view of Jabal-i-Madhi rock. Distant view of Jaipur House looking over the lake. Distant view of Kabul from the hills to the east. This print links with print 34 to form a panoramic view. Duplicate (in better condition) at Photo 197 (13 [left hand portion]). Distant view of Kanchenjunga from the east. Duplicate negative, no print. Distant view of Kohima.[Printing-out paper, 141x65mm]. Distant view of lake, partly obscured by cloud. Distant view of lake, with mountains beyond. Distant view of lake, with mountains beyond. Distant view of lake and shoreline. Distant view of lake from hills. Distant view of lake or river. Distant view of lakeside palace from the opposite bank? Distant view of large thatched bungalow. Distant view of Lhasa. Distant view of Lhasa across the plain. Distant view of Lines. Distant view of memorial. From east. Distant view of military camp. See notes with Print 2. Distant view of military camp. Distant view of military camp from neighbouring hill.[Silver printing-out paper, 198x144mm]. Distant view of military camp perched on the edge of a ravine. Note on reverse of print reads, 'No 1A [ie print 25] fits on right of 1 [print 24]. I was in a tent about 2 miles from right camp corner'. Joins with print 25 to form a panoramic view of the camp. Distant view of Minimarg. Distant view of monastery, with mountain behind. Distant view of monastery, with surrounding hills. 'We passed the great Drepung Lamasery, the biggest in Tibet (with 7,000) lamas) at about 10-15 a.m. after coming some 12 miles.' (Lhasa Mission Diary, 24 August 1936).[Gelatin silver print, 142x92mm]. Distant view of monastery complex, with mountains behind. 'On left the administrative part (Labrang), where we were lodged. In centre the monks' dwellings. On right the building containing the main chapels, assembly halls, etc. On extreme right are more dwellings for monks.' Distant view of monastery on hillside, with fort above. Distant view of mound. (Ancient Persis Map B1). Distant view of mound. Hebrew name Bet Sha'an. Distant view of mound. Distant view of mound (on right), with inhabited mound in left foreground: 'Muni, the chief village [of Zidi], stands in the middle of marshy meadows where three small hillocks, apparently all natural, rise close together like islands. Two of them are occupied by dwellings while the third which had been reported to me as a 'damb' bears the decayed walls of others supposed to have been abandoned some four generations ago' (Gedrosia, p. 173). Distant view of mountain. Distant view of mountain. Distant view of mountain. Distant view of mountain. Distant view of mountain battery ascending a winding hill road. Distant view of mountaineers ascending the pass. Mount stamped: 'Copyright Mt. Everest Committee.'[Green-toned carbon print, 353x450mm]. Distant view of mountain lake with tent just visible on the shore. Distant view of mountain looking over a rocky hillside. Distant view of mountain peak. Distant view of mountain range. Distant view of mountains, hillside in foreground. Distant view of mountains, with temple and houses in foreground. Distant view of mountains. Distant view of mountains. Distant view of Mount Chomiomo. Distant view of Mrs Storrs-Fox (W.C.I.F.) on path. Distant view of mules setting off. Distant view of old entrance, with lighters discharging rubble. Distant view of pack ponies on a mountain road. Distant view of pagoda on hill, with fields in foreground. For another copy of this print, see Photo 92/4 (49).[Albumen print, 238x187mm]. Distant view of palace. Distant view of Paro Dzong from the riverside. Distant view of parsonage overlooking golf course. Distant view of part of the town, with mountains beyond. Distant view of party on horseback in a rocky valley. Distant view of pass. Distant view of peaks. Distant view of people on the river bank. Circular print. Distant view of Peterhoff, the Viceroy's residence in Simla at this time. Distant view of picquets. Distant view of pitched tents, with conifer forest beyond. Distant view of plains. Distant view of Police Lines set amongst rolling hills. Distant view of police outpost. Distant view of Pompey's Pillar. Distant view of R.B. Holmes standing with his camera in the Zoji La Pass. Distant view of racecourse, with Indian figures in foreground. Poor quality print. Duplicates (in good condition) at Photo 2/3 (122) and Photo 447/3 (25). Distant view of racecourse with Indians cooking in the foreground. Duplicates (in poor condition) at Photo 447/3 (25) and Photo 447/5 (10). Distant view of railway-building in a mountainous landscape. Distant view of railway buildings. Distant view of Rajagiri, one the hills making up the fortress of Gingee. Distant view of Rayakota Hill. Distant view of reservoir. Distant view of rider passing target, with spectators beyond. Distant view of riders. Small, square format print. Distant view of riders. Distant view of river. Distant view of river from hills above. Distant view of river steamers. Distant view of road, with scrub-covered hills beyond.[Gelatin silver print, 117x69mm]. Distant view of road cut into hillside, with terrace cultivation on the slope below.[Gelatin silver print, Distant view of road running along a ridge. Distant view of ruins of main caravanserai building, with a lone archway standing in the left foreground. Poor quality print. Caption note continues: 'These serais were erected under the Imperial Dynasty, at intervals of ten miles along the road into Cashmere. They still retain, in many instances, traces of their extent and solidity.' Distant view of ruins on a hill. Distant view of Saidu, with the peak of Ilam beyond. Distant view of shipping.[Gelatin silver print, 137 X 83 mm]. Distant view of shipping. Distant view of shipping in dock at Suez. Distant view of shipping in the harbour. Distant view of site. Distant view of site. Distant view of site. Distant view of snow-capped mountains. Distant view of snow-capped Mt. Akra. Distant view of snow-covered mountains, partly shrouded in cloud, Sengdam peak at left: 'The snow-clad peak which Morshead and I had discovered from below Mipi half hidden by its rival Namcha Barwa was now revealed in its true magnificence. Its name was Gyala Peri, and it towered to 23,460 feet. In itself it was one of the great mountains of the world; but what made it so astonishing was that only thirteen miles away was the peak of Namcha Barwa, 25,445 feet, and between them flowed the Tsangpo over 14,000 feet below Gyala Peri and 16,000 feet below Namcha Barwa. It was an example of the power of water as startling as that of the Colorado river in the Grand Canyon' (No Passport to Tibet, pp. 124-5). Distant view of snow covered peaks. Distant view of snow covered peaks. Distant view of snow covered peaks. Distant view of snowy peaks. Reproduced in Tibet and Lhasa where the caption reads: 'This view is one taken with a telephoto lens from a distance of ninety-one miles. Everest stands up well, and even at this distance looks a veritable giant'. Duplicate at Photo 430/53 (8). Note on the reverse of this print (and relating to prints 259-64) reads: '(1905 about). Tibet - Expedition by Sir Francis Young-Husband given by his wife a[nd] Sir Francis to Sir Louis Dane (when Secretary to Foreign & Political [Department]) to Gov. of India.' Distant view of snowy peaks (faded print). Distant view of station building. Distant view of St Stephen's Church. Possibly by Nicholas Bros. Distant view of St Thomas from the Marmalong Bridge across the Adyar. In the foreground is a busy scene of dhobis washing linen in the river. Distant view of temple on summit of hill. Poor quality. Distant view of temples on the banks of the Gogra (Gaghara). Distant view of tent. Distant view of tent near trees. Distant view of tents. Small snapshot. Distant view of tents pitched pitched beneath a clump of trees. Distant view of the artificial lake and dam. Distant view of the Atumashi Kyaung and Kuthodaw Pagoda from Mandalay Hill. A similar view from the same spot is at Photo 312 (34). Distant view of the barracks, with the church in the centre middleground.[Albumen print, numbered '3719' in the negative, 269x192mm]. Distant view of the Bombay, Baroda and Central India Railway station at Churchgate. Message reads: 'SS ""Olympia"" 3/6/04. Dear Harrie, you can think of Mother being here long ago and me here now, and wonder if you would like to be here yourself. The weather is very hot. With love, Jim'. Distant view of the bridge. Distant view of the bridge. The print is dated '17.12.10' on the recto. Distant view of the bridge across the Indus at Attock. Distant view of the bridge Distant view of the bridge with a group and horses in the foreground. Distant view of the Buland Darwaza. Small faded print. Distant view of the bund running across the Lower Lake. Distant view of the bungalow. In the foreground an Indian man is sitting in a tree playing a wind instrument. Duplicate at Photo 752/11 (27). Distant view of the bungalow. Distant view of the bungalow. Distant view of the bungalow in a hilly landscape. Distant view of the bungalow with a camel in the grounds. Distant view of the bungalow with a footbridge in the foreground. It is not clear what location this is although there is a Nagri in Bihar. Duplicate at Photo 1000 (4090). Distant view of the camp. Distant view of the camp from neighbouring hills. Distant view of the camp of the Malakand Field Force. Distant view of the campsite on the riverbank. Distant view of the car on a country road. Distant view of the castle of the Khan of Kalat, with hills beyond. Distant view of the Chatter Manzil (faded) looking through an arch of Bruce's Bridge. The bridge was built in 1865-66 by Bruce, a Municipal Engineer. Distant view of the church in the cantonment. Distant view of the city. Distant view of the city from the state bungalow. Distant view of the City Palace. Distant view of the City Palace from the north end of Pichola Lake. Distant view of the City Palace from the top of the Victoria Hall. The grounds of the hall and Victoria's statue are in the foreground.. Distant view of the city wall. Distant view of the Commissioner's house, with cliffs beyond. Distant view of the domed pavilion, with the tank in the foreground. Distant view of the dzong, with Yamdrok Tso (lake beyond). Gazelle grazing on plain in front of the fort. Distant view of the dzong with camp in the foreground. Distant view of the entrance to the defile. Distant view of the extinct volcano. Distant view of the falls. Distant view of the falls. Distant view of the Fateh Kadal bridge? Distant view of the fort, silhouetted against mountains. The fort was was dismantled after the British expedition of 1904. Distant view of the fort, stream in foreground. Distant view of the fort, with Indian group at well in foreground. Distant view of the fort, with terrace cultivation on the hillside in the foreground.[Gelatin silver print, 233x306mm]. Distant view of the fort, with the houses of the old city in the foreground. Attributed to H.H. Cole in Bloch's list, but probably by Bourne & Shepherd (see note in introduction). Distant view of the fort. Distant view of the fort. Distant view of the fort. Distant view of the fort (unsharp).[Silver printing-out paper, 87x88mm]. Distant view of the fort and bridge. Distant view of the fort and surrounding ridges. Distant view of the fortified citadel. Distant view of the fortified village, with Stein's pack animals in the foreground.(Ancient Persis Map B1). Distant view of the fort known as Miri-kalat, north-west of Turbat. Distant view of the fort looking over a lake where a man sits fishing. Another view taken at the same time is at Photo 1000 (4088). Distant view of the Fort looking over trees. Distant view of the fort on the north-west shore of Yamdrok Tso.[Gelatin silver print, 140x92mm]. Distant view of the fort on the summit of the hill.[Gelatin silver print, 133x76mm]. Distant view of the fort or dzong at Penam. Poor quality print, faded. Distant view of the fort with a camp in the foreground. Distant view of the fort with a carriage in the foreground. Distant view of the gate with a camel caravan resting in the foreground. Distant view of the great banner decorated with Buddha images hanging from the walls of the dzong. Distant view of the harbour. Distant view of the hill, with the tank in the foreground containing a small shrine in the centre. Printed from a broken glass plate. Distant view of the hill. Distant view of the hill fort, with lake in foreground. Distant view of the hill from the lakeside. Distant view of the hill Kistnagiri, one of the hills of Gingee Fort, with the granary and auience hall visible on the summit. Distant view of the hill looking over the lake. Distant view of the hill on which the fort stands. Distant view of the hilltop palace, part of the dam in the foreground. Distant view of the hill with a bazaar in the foreground. Distant view of the hill with a tank in the foreground. Distant view of the Himalayas, with intervening hills in front.[Albumen print, 293x162mm]. Distant view of the Himalayas. Distant view of the Himalayas. Distant view of the Himalayas from Darjeeling. Stereoscopic pair. Distant view of the Himalayas from Darjeeling. Distant view of the hotel, largely concealed by trees. Distant view of the hotel from the sea. Distant view of the houseboat moored at the lakeside. Distant view of the houseboat on the lake. Distant view of the houses of the village, with hills beyond.[100x77mm]. Distant view of the house with a camp in the foreground. Distant view of the Indus Riber. Distant view of the island fort. Distant view of the island fortress of Bukkur with Rohri in the distance. Distant view of the island palace. Distant view of the Italian coastline with a steamer on the left. Distant view of the Kuthodaw Pagoda, situated to the north of the Palace. Distant view of the Kyaik-Than-Lan Pagoda on the hilltop. Distant view of the Lahore Gate, Red Fort. Distant view of the line winding through hills. Distant view of the Lolab river in the valley. Distant view of the Malakshmi Temple, framed by foreground palms. Distant view of the military sanitarium. Distant view of the mosque. Distant view of the mosque. Distant view of the mountain. Distant view of the mountain. Distant view of the mountain. Distant view of the mountain pass, with the houses of Nankartse in the foreground.[Gelatin silver print, 140x92mm]. Distant view of the mountain with R.B. Holmes standing in the foreground. Distant view of the Mula River. Distant view of the Mula River. Distant view of the oasis. Distant view of the palace above the town. Distant view of the pass through the mountains west of Yamdrok Tso.[Gelatin silver print, 140x92mm]. Distant view of the peak from the Jeglap La Pass. Distant view of the peak of Chomolhari. Distant view of the peak Distant view of the port from the opposite side of the bay. Distant view of the post with a regiment lined up in front. Distant view of the Potala, with Chakpori Hill on the extreme left. Distant view of the Potala Palace, with riders in the foreground.[Gelatin silver print, 142x92mm]. Distant view of the precipitous rock. Distant view of the Pyramids. Distant view of the railway station from a neighbouring hillside, with a temple pagoda in the right foreground.[Printing-out paper, 115x89mm]. Distant view of the reservoir. Distant view of the Residency. Distant view of the river. Distant view of the river. Distant view of the ruined bridge and the valley beyond. Distant view of the shrine on Girjhak hill. Archaeological Reconnaissances, fig. 9: 'Shrine of Mangal Dev above ruins of Girjhak, Jalalpur.' Distant view of the spur on which Chikald Fort stands. Distant view of the station, with mountains beyond.[Albumen print, 240x187mm]. Distant view of the steamer in port. Distant view of the Stotherds' holiday home. Distant view of the stupa also seen in print 11.[Silver printing-out paper, 87x88mm]. Distant view of the Sukh Niwas palace on the edge of the Jait Sagar tank. Distant view of the Taj from the terrace in front of the Diwan-i-Khas. Distant view of the temple, obscured by vegetation, with a group of Indians posed in the foreground. The location is uncertain as the caption on the negative possibly reads 'Neshri' rather than Negri. Distant view of the temple. Distant view of the temple on Parbati Hill. Distant view of the Tower of Silence. Stereoscopic pair. Distant view of the town, with fields and orchards in foreground. Continued in print 183.[100x76mm]. Distant view of the town, with road and railway in foreground. Distant view of the town. Old Bourne number 2085, renumbered to 2131. Distant view of the town. Distant view of the town. Distant view of the town. Distant view of the town from outlying fields. Distant view of the two passes, separated by mountains. Distant view of the Viceroy's Palace. Distant view of the Victoria Hall. Distant view of the village, with mountains beyond. Distant view of the village. Distant view of the village from across the Tsang-Po. Distant view of the walls of the hill fort. Distant view of the Wesleyan Mission bungalow also seen in print 10. Distant view of the Zoroastrian fire-altar seen in prints 155 and 172. (Ancient Persis Map B2). Distant view of tombs. Distant view of tower. Small snapshot. Distant view of town. Distant view of town. Distant view of town and bay. Distant view of track covered by a snow fall. Distant view of train under way. Distant view of tree growing in the middle of the Liddar river. Distant view of trekkers on a snowy plateau. Distant view of Tsaparang, with cattle grazing on pasture in foreground. Distant view of Tughluqabad. Distant view of two men standing in the fort grounds. Distant view of viaduct. Faded print. Distant view of Viceragal Lodge. Distant view of Viceregal Lodge and hills beyond.[Gelatin silver print, 152x112mm]. Distant view of village. Eight miles west of bam. Distant view of village. Distant view of village. Distant view of village. Distant view of village. Distant view of village and cliffs beyond. Distant view of village and fort. Distant view of village and mountains beyond. Distant view of village and ranges beyond. Distant view of village huts. Distant view of village in a valley. Distant view of village in the valley. Distant view of village on hillside. Distant view of villages.[99x71mm]. Distant view of village with hills beyond. Distant view of wall and pagoda, water in foreground. Distant view of women washing clothes beside a river or tank.[Gelatin silver print, 98x78 mm]. Distant view of yaks loaded with baggage drinking from the lake. Distant view showing a game in progress. Distant view showing encampment outside the fort walls. Distant view taken from a boat. Distant view though a ruined arch. Distant view through the trees. Distant view through trees. Distant view through trees. Distant view through trees. Distant view with a bazaar in the foreground. Distant view with a tank in the foreground. Distant view with convoy in the foreground. Distant view with railway trolleys on the track. District Officer's escort crossing a river. District officer on tour by boat.[Gelatin silver print, 110 X 83 mm]. Donkey caravan on the road. Doonga (a Kashmiri boat with thatched roof) being towed on the Jhelum. Double image (camera shake). View looking along the valley. Drawing water at the well. Drawn by J.F. Munnings, ARIBA. Dredgers at work off the jetty. Dry stone wall in foreground, looking along valley towards mountains. 'An easy descent of 900 feet [from the Karo La] in some 4 miles brought us to our camping ground of Dza-ra, where there are a few Tibetan huts. A mile or two below the pass were the remains of old Tibetan fortifications last used in a fight with our troops in 1904. They formerly comprised a continuous loopholed wall right across the valley from one precipice to another, but it is now raized to the ground and only the trace is visible.' (Lhasa Mission Diary, 18 August 1936).[Gelatin silver print, 141x92mm]. Dugouts with passengers at shore of Yidrong Tso. Poorish quality print. Dupe film negative from original nitrate negative now destroyed. Camel caravan passing a notice reading 'Frontier of India. Travellers are not permitted to pass this notice board unless they have complied with the passport regulations.' Dupe film negative from original nitrate negative now destroyed. View looking along a road, with the walls of a fort at the left. The signpost in the foreground points to Manzai (12 miles), Sararogha (18 miles) and Sarawaki (19 miles). Dupe negative from nitrate original, now destroyed; no print. Almost identical view to negative 45, but with figure standing beside wall at left. Dupe negative from nitrate original, now destroyed; no print. Left-hand section of two-part panoramic view comprising negatives 6 and 8. Dupe negative from nitrate original, now destroyed; no print. Possibly at Kashgar. This is the left-hand section of a two-part panoramic view, comprising negatives 43-44. Dupe negative from nitrate original, now destroyed; no print. Possibly at Kashgar. This is the Right-hand section of a two-part panoramic view, comprising negatives 43-44. Dupe negative from nitrate original, now destroyed; no print. Similar to negative 3, but with figure standing in front of village wall. Dupe negative from nitrate original, now destroyed; no print. Dupe negative from nitrate original, now destroyed; no print. View looking towards mountains, with glacier and valley in foreground. Dupe negative from nitrate original, now destroyed; no print. View looking towards mountains, with village in foreground. Duplicate, in cyanotype form, of Photo 1085/5(6), looking along a village street, with houses on the right.[Cyanotype, 155x110mm]. Duplicate, in poor condition, at Photo 447/2 (55). Duplicate, in poor condition, of print 68. Duplicate (cropped differently) of Photo 894/1 (46). One of these two photographs, it is unclear which, has been printed the wrong way round. Duplicate (cropped differently) of Photo 894/1 (47). Duplicate (in better condition) at Photo 197 (19). Duplicate (in better condition) at Photo 197 (32). Duplicate (in better condition) at Photo 364/2 (11). Duplicate (in better condition) at Photo 364/2 (18). Duplicate (in better condition) at Photo 364/2 (5). Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 172, there titled, 'Gorge leading to summit of the Zogi La.' Duplicate (in better condition) at Photo 364/2 (9). Duplicate (in better condition) of Mss Eur F157/481 (25). Duplicate (in better condition) of Mss Eur F157/481 (32). Duplicate (in poor condition) at Photo 447/5 (40). Duplicate (in poor condition) at Photo 447/5 (42). Duplicate (in poor condition) at Photo 447/5 (43). Duplicate (in poor condition) at Photo 447/5 (9). Duplicate (in slightly brighter condition) of print 3924. Duplicate (later printing) of Photo 1000 (2048). Duplicate (later printing) of Photo 1000 (2049). Duplicate at ASIO 4588. Duplicate at ASIO 4601 described as, 'Durigalla. Irrigation sluices'. Duplicate at Mss Eur F138/190(16). Duplicate at Photo 10/12 (26). Duplicate at Photo 10/12 (27). Duplicate at Photo 10/12 (29). Duplicate at Photo 10/12 (37). Duplicate at Photo 10/13 (23). Duplicate at Photo 10/13 (24). Duplicate at Photo 10/13 (40). Duplicate at Photo 10/13 (41). Duplicate at photo 10/13 (64). Duplicate at photo 10/13 (73). Duplicate at Photo 10/18 (12). Duplicate at Photo 10/18 (58). Duplicate at Photo 10/18 (60). Duplicate at Photo 10/18 (79). Duplicate at Photo 10/18 (98). Duplicate at Photo 10/18 (99). Duplicate at Photo 114 (14). Duplicate at Photo 163/3 (22). Duplicate at Photo 2/9 (36). Duplicate at Photo 37 (15). Duplicate at Photo 37 (63). Duplicate at Photo 430/2 (55). Duplicate at Photo 430/2 (57). Duplicate at Photo 430/2 (60). Duplicate at Photo 430/2 (62). Duplicate at Photo 430/2 (64). Duplicate at Photo 430/2 (82). Duplicate at Photo 430/2 (90). Duplicate at Photo 430/28 (14). Duplicate at Photo 430/28 (15). Duplicate at Photo 430/28 (16). Duplicate at Photo 430/3 (6). Duplicate at Photo 430/30 (13). Duplicate at Photo 430/38 (28). Duplicate at Photo 430/38 (29). Duplicate at Photo 430/38 (41). Duplicate at Photo 430/38 (42). Duplicate at Photo 430/38 (43). Duplicate at Photo 430/38 (57). Duplicate at Photo 430/38 (58). Duplicate at Photo 430/38 (59). Duplicate at Photo 430/40 (39). Duplicate at Photo 430/40 (40). Duplicate at Photo 430/40 (42). Duplicate at Photo 430/40 (43). Duplicate at Photo 430/45 (34). Duplicate at Photo 430/50 (16). Duplicate at Photo 430/53 (18). Duplicate at Photo 460 (17). Duplicate at Photo 473 (23). Duplicate at Photo 481/1 (36). Duplicate at Photo 481/1 (52). Duplicate at Photo 481/1 (55). Duplicate at Photo 481/1 (56). Duplicate at Photo 481/1 (58). Duplicate at Photo 481/1 (59). Duplicate at Photo 481/1 (61). Duplicate at Photo 481/2 (22). Duplicate at Photo 481/2 (24). Duplicate at Photo 59/6 (21), which has the following note appended: 'We stopped train to take a photo of the place where poor Colin Campbell (D.E.) was drowned near Mogaung - in attempting to save a trolleyman's life'. S wooden cross stands in the water on the site. Duplicate at Photo 761/5 (35). Duplicate at Photo 88 (65). Duplicate at print 139. Duplicate at Print 43. Duplicate at print 57. Duplicate from original nitrate negative only: no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative, no print. Duplicate negative from a nitrate original now destroyed: no print. Also numbered K.24.1, but a different view from print 125: a more distant view of hills. Duplicate negative from a nitrate original now destroyed: no print. Numbered K.26.1, but subject matter corresponds to K.26.6 in Stein negative notebook. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate of India Office Series, Photo 1000/28(2747). This is 'No 7' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2751). This is 'No 11' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2753). This is 'No 13' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2758). This is 'No 18' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2790). This is 'No 50' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2806). This is 'No 66' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2838). This is 'No 98' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2845). This is 'No 105' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2856). This is 'No 116' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2857). This is 'No 117' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2859). This is 'No 119' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of India Office Series, Photo 1000/28(2865). This is 'No 124' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). Duplicate of Mss Eur F157/481 (11). Duplicate of Mss Eur F157/481 (15). Duplicate of Mss Eur F157/481 (17). Etalin is situated near the confluence of the Dibang and Tangon rivers. Duplicate of Mss Eur F157/481 (182). Duplicate of Mss Eur F157/481 (27). Duplicate of Mss Eur F157/481 (33). Duplicate of Mss Eur F157/481 (9). Duplicate of Mss Eur F157/482 (14). Duplicate of Photo 1000 (3273). Duplicate of Photo 1000 (3275). Duplicate of Photo 1000 (4028). Duplicate of Photo 1000 (4029). Duplicate of Photo 1000 (4030). Duplicate of Photo 1000 (4031). Duplicate of Photo 1000 (4032). Duplicate of Photo 1000 (4037). Duplicate of Photo 1000 (4044). Duplicate of Photo 1000 (4046). Duplicate of Photo 1000 (4047). Duplicate of Photo 1000 (4048). Duplicate of Photo 1000 (4049). Duplicate of Photo 1000 (4051). Duplicate of Photo 1000 (4052). Duplicate of Photo 1000 (4053). Duplicate of Photo 1000 (4055). Duplicate of Photo 1000 (4056). Duplicate of Photo 1000 (4057). Duplicate of Photo 1000 (4058). Duplicate of Photo 1000 (4059). Duplicate of Photo 1000 (4060). Duplicate of Photo 1000 (4061). Duplicate of Photo 1000 (4063). Duplicate of Photo 1000 (4064). Duplicate of Photo 1000 (4067). Duplicate of Photo 1000 (4211). Duplicate of Photo 1000 (4212). Duplicate of Photo 1000 (4213). Duplicate of Photo 1000 (4214). Duplicate of Photo 1000 (4215). Duplicate of Photo 1000 (4216). Duplicate of Photo 1000 (4217). Duplicate of Photo 1000 (4218). Duplicate of Photo 1000 (4220). Duplicate of Photo 1000 (4222). Duplicate of Photo 1000 (4223). Duplicate of Photo 1000 (4224). Duplicate of Photo 1000 (4225). Duplicate of Photo 1000 (4233). Duplicate of Photo 1000 (4239). Duplicate of Photo 1000 (4241).View of two baobab trees, with note on original print reading 'Adansonia trees - one 49 ft the other 36 ft girth.' Duplicate of Photo 1000 (4246). Duplicate of Photo 1002 (213f). Duplicate of Photo 212/7 (7). Duplicate of Photo 281/4 (6). Duplicate of Photo 353 (17). This is print No 42 of the views listed in the China series of H. Hering's Photographic views and panoramas taken by Signor Beato: 'Shops and streets - Chinese City of Pekin, October 1860'. Duplicate of Photo 355/1 (8). Print unsigned, but probably the view listed in the Nicholas & Co. catalogue (copy at Photo 745) as '29. The Eagle's Crag'. Duplicate of Photo 364/1 (35). Duplicate of Photo 364/1 (36). Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 37, there titled 'Rope-bridge at Karmung.' Duplicate of Photo 364/1 (41). Duplicate of Photo 383/1 (10). Duplicate of Photo 383/1 (11). Duplicate of Photo 383/1 (13). Duplicate of Photo 383/1 (14). Duplicate of Photo 383/1 (15). Duplicate of Photo 383/1 (16). Duplicate of Photo 383/1 (17). Duplicate of Photo 383/1 (18). Duplicate of Photo 383/1 (20). Duplicate of Photo 383/1 (21). Duplicate of Photo 383/1 (22). Duplicate of Photo 383/1 (23). Duplicate of Photo 383/1 (24). Duplicate of Photo 383/1 (7). Duplicate of Photo 430/2 (87). Duplicate of Photo 430/28 (3). Duplicate of Photo 430/28 (4). Duplicate of Photo 430/28 (6). Duplicate of Photo 447/1 (11). Duplicate of Photo 447/1 (12). Duplicate of Photo 447/1 (14), which see for descriptive caption. Duplicate of Photo 447/1 (18). Duplicate of Photo 447/1 (27). Duplicate of Photo 447/1 (33). Duplicate of Photo 448/1 (92). Duplicate of Photo 454/1 (26). Duplicate of Photo 454/1 (29). Duplicate of Photo 481/4 (1). Duplicate of Photo 481/4 (11). Duplicate of Photo 481/4 (4). Duplicate of Photo 481/4 (5). Duplicate of Photo 59/5 (181). General view of part of a lake or part of river, with a wooden cross standing in the centre. Duplicate of Photo 61/1 (1). Duplicate of Photo 61/1 (10). Duplicate of Photo 61/1 (100). Duplicate of Photo 61/1 (101). Duplicate of Photo 61/1 (104). Duplicate of Photo 61/1 (105). Duplicate of Photo 61/1 (106). Duplicate of Photo 61/1 (11). Duplicate of Photo 61/1 (113). Duplicate of Photo 61/1 (114). Duplicate of Photo 61/1 (118). Duplicate of Photo 61/1 (120). Duplicate of Photo 61/1 (29). Duplicate of Photo 61/1 (45). Duplicate of Photo 61/1 (56). Duplicate of Photo 61/1 (57). Duplicate of Photo 61/1 (61). Duplicate of Photo 61/1 (71). Duplicate of Photo 61/1 (99). Duplicate of Photo 92/4 (54) Duplicate of Photo 92/8 (53). Duplicate of Photo 92/ Duplicate of Photo 966/1 (1c). Duplicate of Photo 967/1 (89). Duplicate of plate 9.[Albumen print, 99x74mm]. Duplicate of print 1.[Albumen print, 98x74mm]. Duplicate of print 1. Duplicate of Print 1. Duplicate of print 10.[Gelatin silver print, 225x294mm]. Duplicate of Print 100. Duplicate of print 11, in poor condition.[Albumen print, 213x165mm]. Duplicate of print 11.[Printing-out paper, 141x82mm]. Duplicate of print 11. Duplicate of print 119. Duplicate of print 12.[Gelatin silver print, 217x166mm]. Duplicate of print 121. Duplicate of print 124. Duplicate of print 1258 Duplicate of Print 133. Duplicate of Print 135. Duplicate of Print 137. Duplicate of print 1396. Duplicate of print 13 and Photo 383/1 (12). Duplicate of print 14.[Captioned and signed 'Holmes 19' in the negative, 283x238mm]. Duplicate of Print 14. Duplicate of print 144. Duplicate of print 1481. Duplicate of print 15.[Albumen print, 159x102mm]. Duplicate of Print 15. Duplicate of Print 15. Duplicate of print 154. Duplicate of print 16.[Printing-out paper, Duplicate of print 161. Duplicate of Print 18. Duplicate of print 2.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 213x285mm]. Duplicate of print 2. Duplicate of Print 2. Duplicate of print 20.[Albumen print, 162x105mm]. Duplicate of print 20.[Sepia-toned print, mounted on card, 308x211mm]. Duplicate of print 20. Duplicate of print 22.[Albumen print, 164x107mm]. Duplicate of print 23.[Gelatin silver print, 57x79mm]. Duplicate of Print 233. Small faded print. Duplicate of Print 24. Duplicate of print 26.[Albumen print, 165x107mm]. Duplicate of Print 26. Duplicate of print 28, but printed on albumen rather than in platinum. The print shows clearly the rocky coastline that makes landing difficult. Duplicate of print 28.[Albumen print, 157x97mm]. Duplicate of Print 28. Duplicate of Print 30. Duplicate of Print 31, cropped on the left side to remove a blemish. Duplicate of print 31. Duplicate of print 32, there identified as a view along the Karatash Valley looking towards Mt Aghalistan.[Gelatin silver print, 233x307mm]. Duplicate of print 32. Mounted on card.[Albumen print, 169x101mm]. Duplicate of print 33. Mounted on card.[Albumen print, 164x105mm]. Duplicate of print 34. Mounted on card.[Albumen print, 170x99mm]. Duplicate of Print 34. Duplicate of print 35. Stereoscopic view. Duplicate of print 36, from where caption is taken. Stereoscopic view. Duplicate of Print 37. Duplicate of print 386. Duplicate of print 394. Duplicate of print 394. Duplicate of print 395. Duplicate of print 4.[Printing-out paper, 100x78mm]. Duplicate of Print 4. Better print. Duplicate of print 400. Duplicate of print 401. Duplicate of print 408. Duplicate of print 41. Stereoscopic view. Duplicate of print 46.[Gelatin silver print, 123x70mm]. Duplicate of print 46. Duplicate of print 46. Duplicate of Print 49. Duplicate of print 5. Duplicate of print 5. Duplicate of Print 51. Duplicate of print 53.[Gelatin silver print, mounted on card, 289x212mm]. Duplicate of print 53. Duplicate of Print 53. Duplicate of Print 55. Duplicate of print 60.[Gelatin silver print, 295x216mm]. Duplicate of print 61. Duplicate of print 63a. Duplicate of print 64.[Gelatin silver print, 276x96mm]. Duplicate of print 64.[Gelatin silver print, 86x115mm]. Duplicate of Print 65. Duplicate of print 68. Duplicate of Print 70? One of 12 small faded prints titled: 'At Jeypore'. Duplicate of print 70. Duplicate of Print 71. Duplicate of print 719. Duplicate of print 722. Duplicate of print 725. Duplicate of Print 77. Duplicate of Print 84. Duplicate of print 93. Duplicate of print 97. Duplicate of print 9 and Photo 383/1 (12). Duplicate of prints 32 and 35.[Gelatin silver print, 254x308mm]. Duplicate of prints 34 and 36. Caption taken from pencilled note on back of print 36.[Albumen print, 165x106mm]. Duplicate of prints 70-71, but printed as a cyanotype. Duplicate Photo 54 (25). Duplicate postcards. Duplicates of prints in Photo 469/10. Views include the Collector's bungalow at Cuddalore, a police parade, Coonoor, Pondicherry, Mettur dam, Ootacamund, Banqueting Hall at Madras, camp at Vellore, Mettupalaiyam terminus and Wellington golf course. Duryao Mahal on skyline in distance. Earthenware pots piled up in the roadside in front of shop. Earth road across paddy fields. Eight postcards of scenes in Dar Es Salaam and Durban and five snapshots of buildings in Dar Es Salaam, including one apparently damaged by shelling. Eight prints, including views of the gates of the Vadakkannatha Temple, a street scene, and local craft at their moorings in the harbour basin. Eight prints, most showing fishermen on the beach at Madras (hauling in boats, casting nets); with one view in the suburb of San Thom�, looking towards St Thom� Cathedral. Eight prints, views of hill and forest scenery. Eight snapshots taken by Lieutenant G.N. Dyer of the Queen's Royal West Surrey Regiment showing scenes in the Lidar Valley and Pahlgam, including a view of a camp at Pahlgam and a panoramic view of Gulmarg.[Silver printing-out paper, various sizes, most approximately 115x90mm]. Ekkas on a country road. Elephant and mahout at water's edge, with canoe moored in the river. Elephant bathing in river, with mahout seated on the animal's back. Elephant crossing (Dhansiri?) River, with figure (Bailey?) fishing in background. The caption may refer to the tree trunk which the elephant is dragging out of the way of the fishing line. Elephant negotiating the narrow track running along hillside.[Printing-out paper, 99x63mm]. Elephants and beaters on the trail, with group gathered round cars at end of day.[Gelatin silver prints]. Elephants arriving at camp site. Elephants being unloaded at campsite. Faded print.[Printing-out paper, 134x37mm]. Elephants being washed on the banks of the Irrawaddy.[Printing-out paper, 93x68mm]. Elephants drinking from a roadside stream. Elephant shifting timber with tusks.[Printing-out paper, 95x70mm]. Elephant standing beneath a tree outside a village. Elephsnt and mahout on the road, with unidentified European standing beside the animal.[Printing-out paper, 125x82mm]. Eleventh section of eleven-part panoramic view, comprising prints 173-182a. Final, narrow section, showing part of Agency building with British flag flying, and completing the 360� view. Encampment of tents. Encampment of tents at lakeside, with distant view of snow-covered peaks. Encampment of tents beside the Salween at Kunlong.[Gelatin silver print, 140x82mm]. Encampment of tents in foreground, looking towards distant mountains. Encampment of tents in the Indian military base camp.[Silver printing-out paper, 210x153mm]. Enlarged copy at print 196. Enlarged copy at print 197. Enlarged copy at print 200. Enlarged copy of print 12.[Gelatin silver print, 80x133mm]. Enlarged copy of print 25. 'When this photograph was taken advance bodies of the invading Turkish Army of Islam had reached the outskirts of the town, which was under artillery bombardment with shells bursting overhead. August 1918.'[Gelatin silver print (modern print), 193x106mm]. Enlarged copy of print 51. Enlarged copy of print 77. Enlarged duplicate at print 100. Enlarged duplicate of Photo 894/1 (43). Enlarged duplicate of print 1358. Enlarged duplicate of print 157. Enlarged duplicate of print 35, lightly hand-tinted.[Gelatin silver print, 120x178mm]. Enlarged duplicate of print 51. Enlarged duplicate of print 700 Enlargement of central portion of print 85. Entered as 'Locality uncertain' in Stein's negative notebook. Entrance of gorge and canal. (Ancient Persis Map B3). Entrance to cave. Entrance to the circular theatre containing the panorama, with the triumphal entrance of Constantine advertised on the outside. This was presumably another of Kiralfy's extravaganzas, although the date and precise location has not been determined. Print 83 is possibly also part of this panorama. Entrance to the defile, with picquet on hill to the left. Estate workers posed beneath an oil palm. Europa Point identified on the right. European and Burmese man wading knee-deep along a country road.[79x105mm]. European figure (?Bailey) eating breakfast in the open air. Murtazabad (spelled Mortazabad on some maps) lies on the Hunza River about five miles west of Hunza (Karimabad). European group on riverbank, line of bridge marked by boats beyond. European group posed in front of club building. European group posed in front of tents, with elephant and howdah.[Albumen print, 241x179mm]. European group seated among boulders.[Printing-out paper, 89x66mm]. European group walking along a path along the sheer face of Khalifat.[Gelatin silver print, 207x300mm]. European man seated with dog beside track. Print 20 is a cropped copy of this photograph.[Gelatin silver print, 131x79mm]. European man standing on a wooded hillside. European man standing on the far left may be either Sach� or Murray. European picnicers wandering among the ruins. Reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 31. There dated 1866. European picnickers wandering among the ruins. European sailing ships at anchor on the Hugli. The nearest vessel, stern to camera, is the three-masted ship 'Armenian' of Calcutta. European sailing ships moored on the Hugli at Calcutta. Europeans seated amongst the trees, a bungalow beyond. European suspension footbridge across a river. European woman, probably Cecily, Lady Zetland, seated in front of a tent. European woman (presumably Cicely, Lady Zetland) posed in front of tents. European woman standing beside bed of hollyhocks. Evening scene on the lake. Evening view. Everest as seen from Darjiling. Expedition preparing to move off. Exterior view of the Shitalanatha Temple, with tank in foreground. Stereoscopic pair. Exterior view of the studio, with the Punjab Music Warehouse next door. F.M. Bailey standing in front of haystack. F.M. Bailey standing in front of stone hut. Facing p. 78. View showing a figure squatting at the edge of a pool, with the small mosque beyond (largely obscured by trees in the foreground). Faded print, made from a cracked negative. Faded print, made from a cracked negative. Faded print, made from a cracked negative. Faded print, mounted upside down in album. Faded print.[80x131mm]. Faded print.[Silver printing-out paper, with '6/1' (6 January?) written in the negative, 135x78mm]. Faded print. Better copy at Photo 353 (38). Faded print. General view of site, looking along hillside.The print is reproduced as Plate XLV (a) in Henry Cousens, Brahmanabad-Mansura in Sind (Archaeological Survey of India, Annual Report 1903-04 (Calcutta, 1906), pp.132-144). Faded print. General view of site. Faded print. General view of the well. Faded print. Man standing beside excavated section of wall. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. Faded print. View looking through trees to a lake with mountains in the background. Possibly Naini Tal? Faded print. View of the causeway leading to the caravanserai occupied by the British commissariat during the Sudan Campaign. Faded print. View of the city gate leading to the caravanserai occupied by the British commissariat during the Sudan Campaign. Faded print of Marochetti's angel in the Memorial Gardens at Kanpur. Faded snapshot. Faded snapshot. Faded snapshot. Faded snapshot of obelisk. Faded snapshot view of waterfall. Faded view of walled town. Falls on the Indravati River. Family grouped in front of crudely built house. Family group of the Bills (slightly distant), posed at the gate in front of the police station. The location is possibly Doaba, a few miles north-east of Thal on the Kohat road. Family group posed in front of wooden house. Farmer ploughing with two bullocks. Farmers stacking barley between wooden uprights. Farming scsne. Farmstead on the edge of a forest, with hills beyond. Fa�ade of building, with palms in front. Duplicate of Photo 1000 (4219). Felled timber in a forest clearing.[Printing-out paper, 97x73mm]. Felled timber in dry bed of choung, awaiting water to be floated downstream.[Printing-out paper, 97x74mm]. Female labourer at work in the fields. Fenced-off shrine next to tree, with pagodas in background Fern house in the garden of H.H. Spalding's bungalow. Ferns growing on the trunk of a tree. Ferry, constructed from two long dugouts joined together, transporting mules across the Salween.[Gelatin silver print, 139x81mm]. Ferry approaching jetty on which locomotives stand. Ferry being towed across the river at Mandhata. Ferry boat with passengers moored at the side of the lake. The craft consists of two dugouts lashed together. Reproduced in No Passport to Tibet, p. 107. Ferry in the foreground. Ferry of inflated skins being paddled across the river. The caves seen in print 68 are visible in the background. Fifth from left section of seven-part panoramic view, comprising (right to left): prints 421, 420, 418, 417, 425, 426, 427. Fifth section of eleven-part panoramic view, comprising prints 173-182a. Buildings in Agency compound, with river and mountains beyond. Figure at the water's edge scratched out (see Intro). Figure blurred through movement. Figure in foreground has been scratched out (see Intro). Figure in rowing boat in foreground. Figure on horseback (?Irma Bailey) in the pass. Small snapshot. Figure on horseback on rocky open hillside. Figure posed on wall in foreground above measuring pole. Figures beneath tree at roadside.[Gelatin silver print, 138x88mm]. Figures gathered at entrance to the sacred well known as Gyan Bapi. Figures gathered round a large cooking pot placed on steps at the monastery at Drepung. Figures in front of buildings (dark and unsharp).[Silver printing-out paper, 87x88mm]. Figures on horseback in snow-covered landscape. Small snapshot. Figures panning for rubies in a stream.[151x100mm]. Figures posed in front of a felt tent. Figures seated in front of the Zamzammeh gun, the large cannon that stands in front of the Lahore Museum. It is this gun that the hero is seated astride at the beginning of Rudyard Kipling's Kim. Stereoscopic pair. Figure standing beside an unidentified memorial obelisk. Figure standing in foreground to indicate scale. First section of eleven-part panoramic view, comprising prints 173-182a. This section shows part of the Agency buildings, with Union Jack flying at extreme left. Fisherman in a small sailing canoe heading out to sea. Fishermen's watch towers built on piles in the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x195mm]. Fishermen at the dockside. Fishermen bringing in their catch to groups waiting on the beach. Fishing boat and small sampan moored on the banks of the Irrawaddy in the Second Defile. The nets of the fishing boat are supported on a mast-like wooden framework. Fishing boats drawn up on the beach at Lawson's Bay. Five prints, four of scenery, one showing tank surplus weir. Five prints, general views of the lake and adjoining gardens. Five prints, views of harbour from ship. Five prints, views of lake and surrounding gardens. Five prints, views of the harbour with sailing craft at their moorings. Print 255 shows a silhouetted view of a local three-masted barquentine. Five prints: three hill views and two views of the lake at Kodaikanal. Five prints. Five prints of trees, studies in light and shade. Five snapshots of construction work.[Printing-out paper, various sizes]. Five snapshots of work. One print labelled 'First slip in foundation pit 1913'.[Printing-out paper, various sizes]. Five views in the Bori Pass.[Silver printing-out paper]. Flights of stone steps leading up the hillside, probably at Bellary. Flock of goats in foreground. Flock of pelican nesting in trees. Flock of sheep at Sonamarg. Flock of sheep beside river. Flock of sheep in the foreground. Flock of sheep penned inside a stone enclosure. Flower sellers on the lake in a shikara. Footbridge across the Nam Teng, with people crossing the river in dugouts in the background. Ko Up may be the same as the Hko Ut ferry on the Taunggyi-Keng Tung road, referred to in Scott's Gazetteer. Footbridge across the Tista. Duplicate at print 165. For another copy, see India Office Series, Photo 1000/4 (458). For another copy, see India Office Series, Photo 1000/4(459). For a similar view taken on the same occasion, see Photo 364/18(35). Forest and mountain scenery. Forested hillside, with thatched house in foreground. Forested hillside and mountains. Forested hillside at Chumbi. Forested hillside with mountains beyond. Forest on steep hillside. Forest path. Forest path. Forest path with cattle.[Lantern slide, 75X75 mm]. Forest scene, very over-exposed negative, no print. Forest scene, with clumps of bamboo. Forest scene, with tree ferns. Print in poorish condition, some fading and cockling from water damage.[Albumen print, signed 'Bourne 1894' in the negative, 293x237mm]. Forest scene. Forest scene. Forest scenery. Forest scenery. Forest scenery. Forest scene with three European men in a clearing. Another copy of this photograph can be found at Photo 1143/1 (42), there signed and dated in the negative by the photographer. Forest trees. Poor quality print. Fortified village at entrance to the Khyber Pass. Fortified village in the Khyber Pass. Fort on skyline, with Daniel's Tomb (a conical structure) on the right. Fort partly out of picture at right. Fortress remains in foreground, with Indus beyond. Plate 2 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). forts# Fort silhouetted against horizon. Fort unidentified. Original glass negative (damaged), no print. Fort wall on left, moat on right.[152x104mm]. Fort walls are visible on the left, open ground to the right and the town in the background. Although the print is unsigned this view is described in Nicholas & Co's catalogue as 'Bangalore. No 14 The Pettah, from the Ramparts of the Fort'. Fort walls at left, with village and palm grove at right. Fountain in the public gardens. Four part panorama. Caption continues: '..showing part of the Brot haulageway and hill-top tramway, the Uhl intake and weir, the hydraulic works, the Thuji power-house, the compression-station, the Uhl valley tramway, temporary and permanent residential quarters, and the site for the dam of Stage II'. Four-part panorama. Four postcards pasted into album, showing: Ridge Road and Barracks, the Circuit House, the waterfall near the Marble Rocks, and the Marble Rocks. Four prints, a street scene and three views of the temple tank (one of women cleaning and filling brass water vessels). Four prints, showing the Periyar Canal and aqueduct. Four prints, views looking towards the hills from Uttamapalaiyam. An additional caption note reads: ''High Wavy' Hills from Uttamapalaiyam. 'Unsurveyed high wavy forest' in old maps'. The name has stuck.' Four prints. Four small snapshots of views around Srinagar, two stamped on reverse by photographer Mahatta & Co. Four snapshots: one view looking along the lake towards the Residency, two unidentified temples, one military group.[Gelatin silver prints, approximately 145x90mm]. Four snapshots of views inside the Residency grounds, with snow-covered mountains in the distance.[Gelatin silver prints, 107x62mm]. Four snapshots showing construction work and flood damage.[Printing-out paper, various sizes]. Fourth (right-hand) section of four-part panoramic view comprising prints 306, 307, 309, 310, showing pass and glacier (at right). (I.A. Map 2, B3). Fourth from left section of seven-part panoramic view, comprising (right to left): prints 421, 420, 418, 417, 425, 426, 427. Four views of children diving off the bridge over the canal, plus one print of bridge building (pier foundations being laid) at an unidentified location. Frederick (holding butterfly net) and Irma Bailey standing on a path beside tree ferns in the Residency garden. From east. From east. From east. From east. From east. From north. From north. From north. From north. From north. From north. From north-east. From north-east. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From north-west. From south. From south. From south. From south. From south. From south. From south. From south-east. From south-east. From south-east. From south-east. From south-east. From south-west. From south-west. From south-west. From west. G3n3ral view of the wall.[Gelatin silver print, 202x151mm]. Gandak River in background. Ganges Valley at Derali below Gangotri. Gantry crane being erected. Garden in foreground, with houses of the hill station along the side of the ridge beyond.Size: 480 (w) x 388 (h) mm. Garden scene. Garden scene. Gateway of India in left foreground, Yacht Club beyond and to the right. University clocktower in left background, with Back Bay beyond. Second copy neg at B.3841. Gedrosia, fig. 56. The caption calls this 'Sculpture I...', presumably a literal error for 'Structure I'. Gelatin silver print, 133x78mm]. Gelatin silver print, 55x80mm]. Gelatin silver print, 79x57mm]. Gelatin silver print, 86x115mm]. Genenral view looking across the ornamental lake towards the summerhouse. General, view, slightly distant, of the mound, with trees on the skyline in the centre of the mound indicating enclosure area. Gedrosia, fig. 37. General, view of bridge, dated in the negative. General camp scene. General camp scene. General canal views including a view of a ferry. General city view. General exterior view. General forest scenery. General ghat scene. General ghats scene with boats in the foreground. General lake view. General lake view. General lake view with the city in the distance. General landscape view with a ruin in the foreground. General market scene. General of a track. General of the railway station. General river scene, a river steamer visible on the left. General river scene. Another copy at Photo 1084/1 (1), in White's 'Tibet and Lhasa' (Calcutta, [c. 1906]), where the caption reads: 'This stream takes its rise from a glacier in Sikhim and flows down to the plains of Bengal...For over fifty miles, from Sevoke to Gang-tok, the expedition marched along its bank'. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene. General river scene in a forest. General river scene in the city. General river scene with camp just visible through trees in the distance. General river scene with factories (?) on the shore.. General river scene with factories on the embankment. General river scene with forest. Typescript notes read: 'Taken about 50 yards from our tent. You observe one of our ponies grazing by the rock'. General river scene with hills in the distance. General river scene with mountain range in the distance, presumably at Sar-i-ab, a few miles south of Quetta. Duplicate at Photo 481/5 (7). General river scene with mountains in the distance. General river scene with mountains in the distance. General river scene with mountains in the distance. General river view. General river view. General river view. General river view. General river view with ferry in the middle. General road scene. General road scene. General road scene. General road scene. General road scene. General road scene. General road scene. General road scene in winter. General road scene with pedestrians. General road scene with pines. General scene; poor quality snapshot. General scene. General scenic view. General sea view. General snapshot view. General snapshot view. General snapshot view. General street scene. General street scene. General street scene. General street scene. General street scene. General street scene looking down over rooftops. General street scene with bazaar. General street scene with horse-drawn trams. General street scene with houses and pedestrians. General street scene with the Char Minar in the background. General street scene with the Delhi Exchange on the right. General street view in Vadodara with the tank on the left. General topographical view. General town view. General town view. General vew looking towards the bridge at the Chand Pol Gate, with the main part of the lake beyond and the city palace rising above the houses of the town. General view, a little unsharp, looking down onto the reversing station. General view, composed of two joined prints. General view, continued in print 59. General view, distant. General view, ghats in foreground. General view, Indian troops resting in foreground. General view, linking up with print 29 to form a panorama.[Albumen print, signed 'Townshend Phot.' in the negative, 278x212mm]. General view, linking up with print 30 to form a panoramic view.[Albumen print, signed 'Townshend Phot.' in the negative, 275x212mm]. General view, looking across rooftops. General view, looking across the Ammo Chu. General view, looking across the Ammo Chu towards the houses of the town. General view, looking across the cantonment towards the fort.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 287x227mm]. General view, looking across the valley.[Silver printing-out paper, 101x77mm]. General view, looking along the bank of the Ab-i-Diz towards the town. General view, looking along the riverbank, busy with worshippers. General view, looking along the riverbank. General view, looking along the riverbank towards the ghat.[Albumen print, signed 'Sach� 150' in the negative, 287x232mm]. General view, looking down onto the bridge. General view, looking down onto village and boundary commission camp.[Gelatin silver print, 139x81mm]. General view, looking north towards Boileaugunj (right foreground), with Viceregal Lodge on the ridge in the left middleground. General view, looking over the hill station towards the Himalayas. General view, looking over the rooftops of the town towards the dzong. General view, looking over the town towards the Himalayas. General view, looking towards temple gopura. General view, looking towards the Grand Hotel de France. General view, looking towards the Himalayas. General view, looking towards the Hotel des Etrangers and the Hotel Pagnon. Print unsigned but probably by Frith & Co. General view, looking towards tower in distance. This is the northern part of the site: 'Both mounds are locally designated as Tal-i-siah, but since they are situated within the mazra'ia or cultivation area of Fidshkuh known as Vakilabad, I found it convenient to mark finds resulting from the trial excavations at the southern mound with the name of Vakilabad, and to use the more common term of Tal-i-siah only for the northern one.' (Ancient Persis p. 153, Map, B3). General view, looking up towards ridge from level ground below. General view, mosque in foreground. General view, overlaps with print 58. General view, poor quality. General view, poor quality snapshot. General view, Pyramids in distance. Carte de visite sized view. General view, river in background. General view, river in foreground. General view, showing bastions on either side. General view, showing group of cromlech sites. General view, showing houseboats and shikaras. General view, similar in viewpoint to print 42.[Silver printing-out paper, 208x152mm]. General view, slightly distant, looking across towards the summit of the hill on which the house stands.[(?)Collodion printing-out paper, 156x109mm]. General view, slightly distant, Nyang Chu in foreground. General view, slightly distant, of a group of the onion-domed tombs of the Qutb Shahi dynasty (1512-1687) at Golconda. General view, slightly distant, of men at work opening the two funerary cairns. (Ancient Persis Map C3). General view, slightly distant, of remains of stupa. General view, slightly distant, of the range of barrack buildings. Print in very poor condition. Duplicate (in good condition) at Photo 2/3 (120). General view, slightly distant.[Silver printing-out paper, 143x52mm]. General view, slightly distant. Archaeological Tour in Waziristan, fig. 13. General view, slightly distant. General view, slightly more distant than print 109. (Ancient Persis Map C3). General view, somewhat distant. Some chemical marks on print. General view, the low bridge largely obscured by tree in foreground. General view, the reversing station in the foreground and the topographical feature known as the Duke's Nose on the horizon in the distance. General view, the Tonga House is probably that in the foreground. General view, trees in foreground. General view, very similar in composition to Beato's study of the same scene (see Photo 27 (14)).Size: 530 (w) x 402 (h) mm. General view, with (?)stables to left. General view, with annotations in the negative indicating B.G. and narrow gauge sidings used for ballast trains bringing spoil, and earthworks in progress.[Silver printing-out paper, 138x81mm]. General view, with bazaar stalls in foreground. General view, with boats moored along the bank. General view, with carriages and pedestrians on the roadway. Possibly taken around the time of the Delhi Durbar. Stereoscopic pair. General view, with Chitral River and Mehtar's fort in foreground. General view, with European group in foreground. General view, with excavation work in progress. General view, with fields under terrace cultivation in the foreground. General view, with figure standing amongst cairns. General view, with fort in background. General view, with Holy Trinity Church in the foreground. General view, with Mandalay Hill in the background. General view, with men excavating grave at right. General view, with men working in the distance. General view, with parade ground in foreground and military buildings on the hillside beyond. This military hill station was established in 1866.[Albumen print, 207x152mm]. General view, with Powinda group posed in foreground. General view, with public garden in the foreground. Christ Church, seen in print 27, is visible on the skyline. This photograph links up with print 31 to form a panoramic view.[Albumen print, signed 'Townshend Phot.' in the negative, 277x213mm]. General view, with small irrigation channel in foreground. General view, with snowy peaks in the distance. General view, with Swat River in background. General view, with tents pitched along the ridge. General view, with thatched houses and a group of villagers posed in the foreground. A number of buffalo posts stand in the background. General view, with the Empress Market in the right background. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. General view, with the Himalayas in the distance. General view, with the Himalayas in the distance. General view, with the ravine of the River Ravi in the foreground. The Palace can be seen in the centre of the photograph. General view, with the water of the Nuwara Wewa Tank visible in the distance.[Albumen print, signed 'Lawton' in the negative, 281x217mm]. General view, with three figures standing in foreground. General view, with traders seated on wooden pallets. General view, with washermen hanging clothes out to dry inthe valley.[Silver printing-out paper, 181x115mm]. General view, with wet stamp of the Nizam's Guaranteed State Railway on the reverse, dated 26 April 1926.[Silver printing-out paper, 152x103mm]. General view, with wet stamp on reverse of the Nizam's Guaranteed State Railway, dated 26 April 1926.[Silver printing-out paper, 153x106mm]. General view: '...here we found the Suneri-damb, a conspicuous mound rising at the mouth of the Mai-bibu valley. It measures about 230 yards from east to west and some 160 yards across. Its height is about 35 feet. The whitish clay from decayed mud dwellings is exposed over much of the upper portion of the mound; rubble and large unhewn stones cover the slopes elsewhere' (Gedrosia, p. 164). General view: tents largely obscured by trees. 'At the end of the first day's march down the Tsangpo we reached Tri pe, where there was a pleasant camp of tents pitched ready for us on turf in a grove' (No Passport to Tibet, p. 120). General view. (Ancient Persis Map C2). General view.[Gelatin silver print, 136x79mm]. General view.[Gelatin silver print, 140x82mm]. General view.[Gelatin silver print, 244x177mm]. General view.[Gelatin silver print, 80x55mm]. General view.[Printing-out paper, 115x148mm]. General view.[Printing-out paper, 85x85mm]. General view. A faded snapshot. General view. An indistinct and faded print. General view. Bailah is about 11 miles north-east of Punch. General view. Corner of print torn. General view. Described in Nicholas & Co's catalogue as 'Seringapatam. No 12 The Wellesley Bridge, Seringapatam'. General view. Duplicate at Mss Eur E357/12 (2).[Albumen print, 204x155mm]. General view. Duplicate at Photo 10/12 (21). General view. Duplicate at Photo 10/12 (23). General view. For a note on the photographer attribution, see collection introduction. General view. Joins up with print 14 to form a panoramic view. General view. Joins up with print 9 to form a panoramic view. General view. Original glass negative, no print. General view. Poor quality amateur print. General view. Poor quality print. General view. Possibly by De Brath (see print 5). General view. Prints 25-32 are uncredited, but may possibly be part of the Bourne and Shepherd series of views of Alwar, trimmed down to fit the dimensions of this album. General view. Print severely damaged by damp. General view. Print signed 'D & L. 102'. General view. Reproduced in 'Punjab Canal Gazetteers. Volume 2. The Triple Canals (Upper Jhelum Canal, Upper Chenab Canal and Lower Bari Doab Canal)' (Lahore, 1921), plate 4, captioned 'Down stream face of the Mangla Regulator, Upper Jhelum Canal' and with note: 'As viewed from the top of the Mangla Cut, this work appears dwarfed in its surroundings. Note the disturbed surface of the water flowing into the Canal. To the left of the picture can be seen the power house of the electric installation which provides for lighting the Regulator and the Canal Station.'[Printing-out paper, 289x205mm]. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. General view. The first part of the caption has been torn off. General view. The reservoir lies north of Shalimar Bagh; the location is not to be confused with the village of Harwan in the Lolab Valley. General view. This is a copy of print 287a. General view. Troops on the move (blurred) in foreground. General view. Very poor quality snapshot. General view (distant), looking across river valley towards Nag, 'the only permanently occupied place in Upper Rakhshan, sounting some two dozen dwellings and palm-mat huts' (Gedrosia, p. 37). General view (distant). Diggers can just be seen, silhouetted on the skyline. (Ancient Persis Map B1). General view (distant). General view (distant). General view (distant) looking down onto campside from mountainside. General view (distant) of village and fort, with mountain beyond. General view acroos the artificial lake. General view across fields. General view across fields towards the fort. General view across flat rooftops. General view across garden, with residency guard on parade in foreground.[?Matt collodion printing-out paper, 200x151mm]. General view across garden.[Gelatin silver print, on card mount stamped 'Verascope Richard, 10 rue Halevy, Paris', 115x86mm]. General view across harbour towards the island.[(?)Collodion printing-out paper, 157x109mm]. General view across plain, with Captain Close's house in the right foreground.[Albumen print, 287x222mm]. General view across tank.[Albumen print, signed 'Lawton' in the negative, 282x215mm]. General view across tank.[Albumen print, signed 'Lawton' in the negative, 283x217mm]. General view across the bridge. General view across the garden.[Silver printing-out paper, 136x80mm]. General view across the hills. General view across the houses of the town. General view across the lake. General view across the pass, looking towards mountains. Caption note continues: 'This pass is 17,500 feet above the sea-level, and covered with perpetual snow. The rarification of the atmosphere at this elevation is very distressing, both to Natives and Europeans. This is more severely felt under exertion, and a lengthened exposure to such a trial would speedily destroy life.' General view across the plain towards the mountains. General view across the plateau. General view across the rooftops, with city gate in foreground. General view across the tank, with mountains beyond. General view across the town of Sinjar. General view across the valley, with mountains beyond. General view across top of mound towards country beyond. General view across wooded hills. General view along a street in Leh. For a similar view taken on the same occasion, see Photo 364/2(41). Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 167. General view along foreshore. General view along line of canal. General view along main street. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 265. General view along moat, partially obscured by trees in foreground.[110x153mm]. General view along pass towards the peak. General view along quayside, with passengers embarking. General view along river valley. General view along street.[101x73mm]. General view along street. General view along the bridge, with the river almost dry and showing the square stone piers. The minarets of the Jami Masjid can be seen in the distance. General view along the fairway. General view along the Jhelum at Srinagar: date uncertain. General view along the Jhelum at Srinagar. General view along the length of the pass. General view along the Lidar Valley at Aro. General view along the peninsula, with the camp and chateau in the foreground.[Silver printing-out paper, 209x150mm]. General view along the river, with jungle rising on either bank. General view along the street, with bazaar shops in foreground. General view along the tree-lined canal. General view along the Tsangpo Valley. General view along the valley. Platinum print. General view along the valley. General view along the waterfront, with lighthouse in the background. General view along valley; Toghrasu not marked on Stein's map. Incorrectly dated 19 August in Stein's negative notebook. See also print 308, which suggests that the photograph may have been printed in reverse. (I.A. Map 2, C2-3). General view along valley; Toghrasu not marked on Stein's map. Incorrectly dated 19 August in Stein's negative notebook. Variant of print 305. (I.A. Map 2, C2-3). General view along valley. (I.A. Map A). General view along Valley. General view along valley. General view along valley. General view along wooded valley towards hills. General view at Deh Bid, north of Shiraz. General view from a boat showing people on the river bank. Circular print. General view from above, looking down onto the falls and the basin below. General view from a high vantage, looking down to the river with commercial buildings clustered on the waterfront. In the foreground are the premises of the engineers, Riley, Hargreaves & Co. General view from a rooftop.[Gelatin silver print, 113x151mm]. General view from hills. General view from hillside, looking down onto monastery buildings, with surrounding mountains beyond. Probably photographed on 27 September, when a number of mission members climbed the hills above Drepung.[Gelatin silver print, 142x93mm]. General view from hillside looking down onto the stone bridge.[Albumen print, 344x240mm]. General view from lakeside. General view from neighbouring hill. See note at print 30.[Albumen print, 176x118mm]. General view from neighbouring hillside. General view from neighbouring hillside. General view from opposite bank of the river. General view from outside wall. General view from Park Lane. General view from railway station. Small snapshot. General view from street. General view from the 3rd Bengal Cavalry Mess looking towards St John's Church, with mountains beyond. Photograph probably taken in the 1860s rather than 1857. Other copies at Photo 430/2(6), Photo 487 (7), Photo 752/12(23). General view from the east.[Gelatin silver print, 142x93mm]. General view from the embankment. General view from the embankment. General view from the lighthouse of shipping at anchor. General view from the mess house. General view from the opposite side of a tank. General view from the outskirts of the town. General view from the palace. General view from the river. General view from the river. General view from the river. General view from the River medway. General view from the road. General view from the roof of the military prison, linking up with print 20 to form a panoramic view.[Albumen print, numbered '3717' in the negative, 269x206mm]. General view from the roof of the military prison. This photograph links up with print 22 to form a panoramic view.[Albumen print, numbered '3716' in the negative, 273x215mm]. General view from the sea of this small island. General view from the Spanish mainland. General view from the Spanish mainland. General view from the steamer. General view from the water's edge. General view from wharf. General view in a bazaar. On the left is a photographic studio advertising 'Views of India', a plaque reads: 'Photographic views of Simla, Lahore & Kashmir. Albums for photographs. Photographs mounted. 12 annas per copy. Jadu Kissen, ASI'. General view in a garden looking towards a pavilion. General view in a northerly direction along Victoria Road, with St Andrew's Church visible in the distance. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. General view in garden, with part of Government House at the right. General view in gardens. No. 69 in Burke catalogue of Afghan War views. General view in Pass. General view inside a fort. General view in the bazaar. General view in the bazaar. General view in the botanical gardens, showing lake, formal lawns and beds, and summerhouse. Some fading and yellowing of print. Print unsigned but probably by Penn. General view in the cemetery. General view in the cemetery. The two recent graves in the foreground, both dating from early 1886, are those of Lieut Col C.G. Greenham and Captain J. Stevens Guille, both of the Wiltshire Regiment. General view in the garden looking towards a pavilion. General view in the garden looking towards a pavilion. General view in the gardens with posed figures. General view in the gorge. General view in the grounds of Government House, Guindy. General view in the hills. A figure stands near a cliff edge on the left. General view in the orchard. General view in the park looking towards the pavilion seen in Print 58. General view in the town. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 374. General view in the town. General view in the tunnel. General view in the village. See G.E. Mitton, Scott of the Shan Hills (London, 1936), pp.247-8, for an account of the visit to Na Fan. General view long the iron bridge connecting city and port. General view looking across a pool towards Gyantse Dzong. General view looking across field. General view looking across fields towards three mounds. General view looking across field towards Agency buildings, with the fort of dzong in the background. General view looking across field towards houses. General view looking across field towards mound. General view looking across grassy upland towards the lodge at Kajiar. General view looking across harbour.[(?)Collodion printing-out paper, 156x108mm]. General view looking across open country to buildings on the hill. General view looking across part of the town from a neighbouring hillside. General view looking across rocky landscape towards Tang-ab River gorge, north of Firuzabad. (Ancient Persis Map, A3). General view looking across rooftops.[Albumen print, 377x308mm]. General view looking across rooftops. General view looking across site towards hills, '...the wide, gently sloping plane of the valley, the whole of which is known as Shahr-i-Majj, the 'Town of Majj'...'. (Ancient Persis, p. 161, Map B2). Two men standing in foreground. General view looking across tank towards terraces. General view looking across the bay towards the fort. Letterpress continues: 'On the extreme right are the Garrison Quarters and St Francis Fort and next to it the Gremio Militar or Officers' Club - on the rising ground is the St Januario Hospital at the top of the hill is the Guia Fort and Light House - on the hills to the left of centre of view is the Monte Fort - around facing the water or Inner Harbour is the Praya Grande - the views was taken from the Boa Vista.' General view looking across the lake.[Gelatin silver print, 141x92mm]. General view looking across the Nam Pawn. General view looking across the open courtyard of the magazine. Across this area lie piles of massive jars used for storing gunpowder. Duplicate (in better condition) at Photo 197 (11). General view looking across the open market. General view looking across the river, with construction work in progress on both banks. Photograph enclosed with Agent's letter 456 of 23 Apr 1906. General view looking across the river towards dust clouds. This is the clearest view of the dust storm. General view looking across the river towards the rock face on the far side. The inscriptions cannot be seen in this print. General view looking across the rooftops of the city from the Sanganer Gate, with the fort on the skyline in the distance. This view, taken by Colin Murray for Bourne & Shepherd, also appears as plate 27 in James Burgess, 'Photographs of architecture and scenery in Gujarat and Rajputana' (Bourne & Shepherd, Calcutta, Bombay and Simla, 1874): see Photo 970 (27).[Albumen print, 310x183mm]. General view looking across the rooftops of the town. General view looking across the rooftops towards wooded hills beyond. Prints 33-35 appear to form a panoramic view of the town. General view looking across the Shatt al Arab towards the oil works. General view looking across the tank towards town the fortified rock beyond. The caption also dates the print 'Jany.1883?', but this probably refers either to the date of a visit to Trichinopoly or the date of purchase of this print. General view looking across the town.[99x75mm]. General view looking across the town. General view looking across the town towards the fort.[99x76mm]. General view looking across the valley. General view looking across the valley towards snow covered peaks. General view looking across the valley towards the houses of the station. General view looking across the vast tank.[Albumen print, signed 'Lawton' in the negative, 282x199mm]. General view looking across towards mound. General view looking along coast. General view looking along length of lake. General view looking along line towards stations, with annotations in the negative indicating piles of Shahabad stone (on either side of line), passenger platform, new goods shed and goods platform.[Silver printing-out paper, 139x81mm]. General view looking along one of the roads in the camp. General view looking along the crowded main street towards temple pagodas in the distance, with canoes moored at the water's edge in the foreground: 'Tremendous collection of huts with long street up to pagoda. Our hut about half way up. Terrible small and confoundedly open. Zat pwe alongside of us...Took some photos in the evg. Four came off fairly well. Wandered about with a crowd of never less than 500 at our heels. Got the went on simply the whole night, up to 7 a.m. Hardly slept a wink' (Scott diary, 9 November 1889, ff. 90-91, OIOC Mss Eur F278/4). Duplicate at Photo 92/8 (73).[Gelatin silver print, 172x117mm]. General view looking along the Indus riverbank towards the fort, with the bridge of boats beyond. Second copy neg at B.7940. General view looking along the lake from the northern end. The isolated group of buildings by the water's edge are the Assembly Rooms. General view looking along the length of the bridge. A long line of railway workers is spread out along the bridge superstructure.[Albumen print, 285x211mm]. General view looking along the Nam Pang. General view looking along the ridge.[Gelatin silver print, 306x218mm]. General view looking along the ridge. A faded and tattered print. General view looking along the ridge. General view looking along the ridge and over the rooftops of the town. General view looking along the ridge at Aijal (Aizawl). General view looking along the river. General view looking along the river towards the Hardinge Bridge.[Gelatin silver print, 221x143mm] General view looking along the road towards the camp.[Albumen print, 136x97mm]. General view looking along the street. This photograph was reproduced in the Journal of Indian Art in 1885. General view looking along the Tungabhadra River. General view looking along the valley and onto the houses of Yatung beside the Ammo Chu. General view looking along the Zig Zag Road through the Khyber Pass. General view looking along valley, with wall in foreground. General view looking down from hillside onto cultivated fields. General view looking down from neighbouring hillside. General view looking down into excavated pit. General view looking down into the Lolab Valley. General view looking down on the bridge. See also Photo 92/2 (30), for a closer view of the same bridge. Another view of the bridge at Photo 92/8 (7). General view looking down on the cantonment. Copy print. General view looking down on to a street, the palace in the background. This is probably the work of a commercial photographer rather than Mitchell. General view looking down onto fort and surrounding countryside. General view looking down onto line under construction. General view looking down onto pool. (Ancient Persis Map B1). General view looking down onto the artificial lake at Kodaikanal. General view looking down onto the bazaar. General view looking down onto the buildings of the military post, with the new ration godown maked with a cross.[Gelatin silver print, 135x80mm]. General view looking down onto the camp of tents and grass huts from the hillside above. The camp lies on a spur overlooking the Dibang Valley General view looking down onto the ghat and river. General view looking down on to the hockey ground. General view looking down onto the military encampment. General view looking down onto the racecourse. General view looking down onto the ridge. General view looking down onto the town from the adjoining hillside. General view looking down onto the village. General view looking down onto town and harbour. General view looking down onto village.[Gelatin silver print, 137x81mm]. General view looking down the pass.[Gelatin silver print, 138x80mm]. General view looking down the pass. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 30, there titled, 'The summit of the Zogi La, 11,500ft.' General view looking eastwards across the hill station. General view looking eastwards across the racecourse and polo ground towards the lake in the distance. This area was reclaimed from the lake in 1896-99. General view looking eastwards along the Mall, with the tower of Christ Church visible in the background, and Jakko hill beyond. Titled in Bourne and Shepherd catalogue: 'General view of Simla from below 'Bentinck Castle'.'[Albumen print, 290x236mm]. General view looking from a hill over factory rooftops with two Europeans posed in the foreground. Poosibly looking east from Cumbala Hill. General view looking north-east towards the Cantonments and the Napier Barracks, with Elphinstone and Frere Streets in the foreground. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. General view looking north-eastwards along the valley. (Ancient Persis Map B2). General view looking out across the great reservoir.[Gelatin silver print, 80x55mm]. General view looking out over the city.[Gelatin silver print, 134x78mm]. General view looking over a lake towards a pavilion. General view looking over a tank. General view looking over damaged buildings.[Gelatin silver print, 103x60mm]. General view looking over port buildings to shipping in the bay. General view looking over rooftops, the river on the left. General view looking over roof tops. General view looking over rooftops. General view looking over rooftops. General view looking over rooftops. General view looking over rooftops towards citadel. General view looking over rooftops towards the fort. General view looking over the city and bay towards Vesuvius. A faded print.[Albumen print, 258x202mm]. General view looking over the city with a minaret in the foreground. General view looking over the gardens towards the harbour. Letterpress continues: 'Another view of the Gardens seen from the upper terrace or south side, on the right is a large pine trees [sic], these trees often grow to the height of 150 feet.' General view looking over the houses of the town towards the Baluch Lines of the Cantonment. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. General view looking over the Lake towards the town. Possibly by Sach�. General view looking over the Pichola lake towards the City Palace. General view looking over the river. Very poor quality print. General view looking over the rooftops. Letterpress continues: 'In the distance can be seen the 'Flower Pagoda', it is nine stories in height, and has been built for over 2,000 years - in front is the city - this view was taken from the upper terrace of the Five Storey Pagoda near the wall of the city.' General view looking over the town, with the church on the skyline. Indian group seated in foreground. The photograph is probably by John Burke or William Baker. General view looking over the town.[Albumen print, signed 'Sach� 483' in the negative, 287x233mm]. General view looking over the town from the roof or window of an unidentified building, with two small temples in the foreground.Size: 506 (w) x 366 (h) mm. General view looking over thickly-forested land. General view looking southwards along the western wall of the Sherpur Cantonment, with the Engineers' Park at the left. Duplicate at Photo 430/3 (44). Second copy neg at B.7559. General view looking south-westwards along the ridge, with Trinity Church on the right and the Bazaar below.[Printing-out paper, signed 'Bali 314' in the negative, 296x212mm]. General view looking through trees. General view looking towards a group of European buildings. These probably belong to the sanatorium station established for British troops near the village in 1888. Far from being healthy, the station proved to be an insalubrious spot and was abandoned the following year. This photograph therefore possibly dates from around 1889 rather than the 1890s. General view looking towards a group of thatched houses.[Albumen print, 239x185mm]. General view looking towards a marble pavilion. General view looking towards area under excavation (distant). General view looking towards a summer house. General view looking towards Aurangzeb's mosque. General view looking towards Ayur Temple (largely concealed by trees). General view looking towards buildings on a hillock of land.[Gelatin silver print, 131x81mm]. General view looking towards fort, with Stein's camp beneath trees to the right. Archaeological Reconnaissances, fig. 60: 'Fortified residence of Shaikh of Tahiri with camp below.' General view looking towards fort. General view looking towards Gridhrakuta Hill. General view looking towards hills, with cottages in foreground. This photograph, taken by Colin Murray for Bourne & Shepherd, also appears as plate VI of James Burgess, Photographs of Architecture and Scenery in Gujarat and Rajputana (Bourne and Shepherd, Calcutta, 1874): 'On the extreme left are the offices of the Agency, and on the right is seen the roof and part of the west end of the little English church, nearly behind which is the Lawrence School, while between this and the Agency offices, as also behind and before the school, are several bangal�s belonging to officers attached to the Agency. The picture gives a very fair idea of the station, charmingly situated on an undulating plateau surrounded by hills.' General view looking towards Landour. General view looking towards mound, which has a small temple or shrine at its summit. Situated '...some eighteen miles south of Gorakhpur... Sohgaura stands on the remains of some very ancient city and the numerous mounds of ruins which surround it on all sides offer a splendid field for exploration. The largest of these mounds is Tikar Dih situated on the south bank of the Ami River, measuring some 220 paces from east to west and about 180 from north to south. It is impossible, of course, as yet to say anything about the nature of the remains buried under this and the other mounds...' Daya Ram Sahni, Notes in the Gorakhpur and Saran Districts (ASI Annual Report 1906-07 (Calcutta, 1909), pp. 193-205), p. 194. General view looking towards mound. Archaeological Reconnaissances, fig. 55: 'Mound of Tal-i-Iblis, seen from north-west.' General view looking towards mound. Archaeological Reconnaissances, fig. 56: 'Tappa-i-Nurabad mound, seen from north-east.' General view looking towards mound. General view looking towards mound. General view looking towards mountains. General view looking towards parade ground, with stables in foreground.[Albumen print, 240x177mm]. General view looking towards ridge with caves. (I.A. Map 17, A1). General view looking towards sheds and piers. General view looking towards site, with labourers shifting earth. Illustration reproduced in John H. Marshall, Excavations at Charsada in the Frontier Province (A.S.I. Annual Report 1902-03, Calcutta, 1904), pl. XXIVa. General view looking towards station buildings.[Platinum print, 100x74mm]. General view looking towards stronghold. (Ancient Persis Map C3). General view looking towards tents pitched on flat grassland, with mountains beyond. 'Our camp at Netang is quite in the open close to the river; this is better than the official camping ground in a grove of trees near by.' (Lhasa Mission Diary, 23 August 1936).[Gelatin silver print, 141x92mm]. General view looking towards the artillery lines.[Albumen print, numbered '3662' in the negative, 276x211mm]. General view looking towards the bandstand and the Albert Victor Conservatory beyond. Caption notes read: 'This beautiful pleasure garden (now styled the Botanical Gardens) is situated about a mile to the south of the C. and M. Station, and covers an area of 100 acres. It was first laid out by Haidar Ali and enlarged by Tipu Sultan. The cypress trees of Haidar and Tipu's days, which overcrowded the narrow walks, have long since been removed, and only the unique specimens of Mangifera indica, which adorn the grounds, still remain. From 1838 the Lal Bagh has been under professional superintendents from Kew and has a wide reputation, its speciality, apart from the pleasure derived from the residents of Bangalore, being the acclimatisation of economic plants. It now contains a rare and valuable collection of tropical and sub-tropical plants, together with indigenous and foreign fruit trees'. Duplicate at Photo 2/9 (6). General view looking towards the bazaar. General view looking towards the cavalry lines in the distance.[Albumen print, numbered '3661' in the negative, 271x183mm]. General view looking towards the fort, NW of Kohat. General view looking towards the fort, with the Chand Minar on the left, and ramparts in the foreground.[Albumen print, 195x157mm]. General view looking towards the fort. General view looking towards the fort. General view looking towards the fortified walls and bastions of the village. (Ancient Persis Map B1). General view looking towards the gopuras of the Srirangam temples. Stereoscopic pair. General view looking towards the hilltop fortress . The Chand Minar, a tower of victory, stands in the right foreground. General view looking towards the hotel, with the hillside beyond. General view looking towards the houses of the village. (Ancient Persis Map, B3). General view looking towards the Husain Saugur Tank.[Albumen print, numbered '3727' in the negative, 274x200mm]. General view looking towards the large memorial cross, with part of the Residency visible in the background. Stereoscopic pair. General view looking towards the memorial screen. General view looking towards the military camp. General view looking towards the mound. General view looking towards the mound near Nag known as Singi-kalat. General view looking towards the mountain. Duplicate negative, no print. General view looking towards the mountain and glacier. General view looking towards the outer wall of the town. (Ancient Persis Map C3). General view looking towards the pagodas on the hill, taken from inside the (?) palace grounds. Duplicate at Photo 92/2 (68). General view looking towards the palace, with British soldiers posed in the middleground. Probably photographed during the durbar at Wuntho that ended the Wuntho Sawbwa Campaign. General view looking towards the Potala Palace from the south, with the two images hanging from the centre of the building. '...Of the present and coming Buddhas at Ser-treng ceremony. The two pictures...are some three hundred years old. Procession of monks (middle distance, right) passing round the base of Potala Hill.' See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), pp. 74-81, '30th Day: The Golden Procession of the Assembly of Worship.' General view looking towards the river, with the Cathedral of St Catherine in the centre of the print, and in the left background (very distant) the Church of St Augustine. The domed building at the right is the Church of St Cajetan (see print 22). General view looking towards the rock.[Gelatin silver print, faded, 55x80mm]. General view looking towards the rock and its fortifications, surmounted by a small temple. Albumen print, 365 x 242 mm. General view looking towards the rock and the Ganesha temple on the summit. Duplicate (later printing) of Photo 1000 (2900). Another copy at Photo 212/1 (1). General view looking towards the Sagaing hills, which are dotted with temples and pagodas.[Printing-out paper, 153x105mm]. General view looking towards the sea. General view looking towards the Sintaung Pagoda on the hillside. The building in the right foreground is presumably the haw or palace. Duplicate at Photo 92/4 (76). General view looking towards the station, with rolling stock on the lines in the foreground.[Albumen print, 325x261mm]. General view looking towards the stone wall of the prison compound. General view looking towards the stone walls. 'These embankments of the Toji site like all similar stone-built irrigation works to be found in great numbers over Kharan and Jhalawan are locally known as Gabar-bands...' (Gedrosia, p. 24). General view looking towards the temple, with the river beyond: the temple appears to be situated at the junction of the Purna and Tapti rivers. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p. 60: 'The temple in the river bed, built by Ahalyabai of Indor, is a modern construction. The whole of the upper part of the temple has tumbled over into the bed of the river en bloc, and now lies partly buried in the sand, while the lofty platform upon which it was built has nothing on it but the lower courses of the temple plinth.' Photograph taken during the Western Circle survey season of 1891-92. Another copy of this print at Photo 1009/1 (1307). General view looking towards the temple, with the river beyond: the temple appears to be situated at the junction of the Purna and Tapti rivers. Henry Cousens, 'Revised list of antiquarian remains in the Bombay Presidency ... originally compiled by J. Burgess' (Bombay, 1897), p.60: 'The temple in the river bed, built by Ahalyabai of Indor, is a modern construction. The whole of the upper part of the temple has tumbled over into the bed of the river en bloc, and now lies partly buried in the sand, while the lofty platform upon which it was built has nothing on it but the lower courses of the temple plinth.' General view looking towards the tents of the Prince and Princess of Wales and their staff. The camp was situated on a bluff overlooking the Kabbani River some five miles away from the kheddah. General view looking towards the timber pond. General view looking towards the town, with thick forest beyond. Pagodas at right. The substantial building at the left is probably the chief's haw or palace. Joins up with print 10 to form a panoramic view. General view looking towards town. General view looking towards trees and other bungalows. General view looking towards unexcavated (stupa?) site. General view looking towards unexcavated mound. General view looking towards Viceregal Lodge, with the snow-covered peaks of the Himalayas in the distance on the skyline.[Gelatin silver print, 288x166mm]. General view looking towards village. General view looking towards Wellington Barracks. General view looking up-river towards the bridge, a cantilevered wooden footbridge, built in two sections from each bank to an island in midstream. General view looking up towards cliffs. General view looking west across Elphinstone Circle from the Town Hall towards the tower of the cathedral church of St Thomas. Inscribed on reverse of mount 'To His Honor The Lieut. Governor By the Bengal Photographic Society'. General view looking westwards across fields and canals towards the city. At the extreme left a small curve of the River Jhelum is visible, with the Poplar Avenue (Rotten Row) beyond. In the right background is the hill of Hari Parbat. Caption note continues: 'The Valley of Cashmere, beautiful and renowned for its manufacture of shawls, here lies before the eye. In the foreground appear the shawl manufactories, where the costly fabrics are being slowly elaborated by the patient and enduring workmen. The numerous canals which here intersect the valley lead towards the Lake, on which are situated the celebrated Shalimar Gardens.' General view of a bend in the river. General view of a bridge across a river. General view of a bridge with three Indian soldiers and a European standing in the foreground. This is the bridge partially seen in print 33.[Albumen print, 283x232mm]. General view of a collection of buildings, some evidently of an industrial nature. This is possibly at Madanganj, which the Imperial Gazetteer records as having a steam hydraulic cotton press and a spinning and weaving mill. General view of a country path with a hill range in the distance. General view of a country road. General view of a country road running parallel with a river. General view of activity on the river bank. General view of a European party camped under trees. General view of a glacier. General view of a gorge. Cracked negative. General view of a gorge. Poor quality print. General view of a gorge. General view of a grassy plain. General view of a grassy plain surrounded by forest. General view of a group of thatched houses.[Albumen print, 178x119mm]. General view of a grove. General view of Ahalya Bai's Ghat, Sitla Ghat and Dashashvamedha Ghat. General view of a hill. General view of a hill road. General view of a hill with fortifications on top. General view of a hilly landscape. General view of a Jaipur street. General view of a Jugi settlement, showing a group of mat huts. General view of a lake with buildings on the embankment. General view of a large lawn with trees. General view of a long, wide thoroughfare. General view of a long stretch of road. General view of a long thatched house surrounded by spirit posts. These take the form of a tapering length of timber with an umbrella-like object attached a short distance from the top. General view of a mango tree in fruit, presumably photographed in Mysore district. [Albumen print, probably from a paper negative, 292x230mm]. General view of a market on the banks of the Godavari. General view of a Naga house, with a young boy standing in the foreground. General view of an area of open countryside. General view of an area of open ground in the fort. From south. General view of Annandale Racecourse, with a meeting in progress.[Albumen print, 242x181mm]. General view of an unidentified bridge. General view of an unidentified wooded headland, with rock strata sloping diagonally into the sea; probably photographed by Maurice Vidal Portman. General view of a palm grove with figures in the foreground. General view of a pass, a group with a horse stands on the left. General view of a pass, with a figure sitting in the foreground. General view of a pavilion and fountains in the garden. General view of a pier on the canal at El Qantara. A French hotel and buffet are on the opposite shore to the right of a dredger. General view of a plantation. General view of a plantation in the hills of Naini Tal district. General view of archaeological site, with cromlechs. General view of area. General view of area in course of excavation. General view of a reservoir. General view of a reservoir. General view of a reservoir with a chhatri in the distance.. General view of a reservoir with outlet sluices in the distance.. General view of a ridge and plateau in the Western Ghats. General view of a river, an Indian man stands in the foreground. General view of a river. General view of a river crossed by stepping stones. General view of a road winding through a pass. General view of a rocky plain with mountains in the distance. Horses and riders are seen in the middle-distance on the left and right. General view of a settlement in the vicinity of Shillong. General view of a settlement of neat log cabins. General view of a small unidentified bridge, with a European engineer and Burmese workers posed on two railway trolleys. General view of a stream. General view of a street. Small faded print. General view of a street. General view of a street in Jhallrapatan, commonly known as Patan to the inhabitants.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 287x213mm]. General view of a tank. General view of a tank. General view of a tank. General view of a tank adjacent to a temple. General view of a tank with a pavilion in the centre. General view of a tank with buildings and ghats round the edge. General view of a tank with bungalows in the background. General view of a tank with the fort in the backgound. General view of a tea garden with a bungalow in the distance. The Victoria Tea Company had two estates in the Hailakandi Valley, Cachar. General view of a town with fortified hills in the distance. General view of a track. General view of a tree. General view of a tree-lined road. General view of a tree-lined road. General view of a village market in a grove. General view of a water-course. General view of a winding road in the Pass. General view of a woman sitting on the wall surrounding the well. General view of barracks, with mess house in background. General view of bazaar. General view of bazaar. General view of bazaar and traders. For another copy of this print, see Photo 92/9 (236).[155x112mm]. General view of blocks in position.[Gelatin silver print, 202x149mm]. General view of boats and houses on the waterfront. General view of boats on a canal. Caption on reverse. General view of boundary commission camp in the rice fields at Mong Pu Awn. Faded print.[Albumen print, 239x195mm.] General view of brick buildings with corrugated iron roofs in course of construction.[Gelatin silver print, 139x84mm]. General view of bridge. General view of bridge. General view of bridge. General view of bridge and approaches. General view of bridge from one side. General view of Bridge No. 85. General view of bridge over a small lake. General view of bridge over the Panjkora river and camp beyond. General view of bridge under construction, with temporary footbridge at right. Photograph enclosed in Agent's letter 506 of 22 April 1907. General view of bridge with rail workers standing on top with a trolley. The name 'Woods' appears above the print suggesting that he took the photograph. General view of building from the Tsangpo. General view of buildings, with hills beyond. General view of buildings, with ridge behind. General view of buildings. General view of buildings alongside river. General view of buildings and shops. General view of buildings in the entrenched camp. General view of buildings on hillside.[Silver printing-out paper, 148x90mm]. General view of bungalow. General view of bungalows and hills. General view of bungalows scattered over a hill. General view of bungalows scattered over hills in the cantonment. General view of burial ground, showing stone cairns. (Gedrosia, fig. 24). General view of burial ground. Duplicate at Mss Eur E357/29 (18).[Albumen print, 190x151mm]. General view of burial ground. General view of burial ground. General view of burial mounds. General view of cairns. General view of cairns and ridge. General view of camp, looking along lines of tents. General view of camp, looking down along two rows of tents towards the Viceroy's quarters. Previously identified as the Lord Elgin's camp at Lahore during his 1894 visit, but a comparison with Photo 15/2 (16) shows a similar but apparently different site. General view of camp, possibly at Miranshah (unlocated). General view of camp, tents, etc. General view of camp, with felt tent seen in print 18 in centre. Flagstaff with Union flag in foreground. General view of camp, with pool in foreground.[Platinum print, 100x74mm]. General view of camp.[Albumen print, 239x190mm]. General view of camp.[Platinum print, 100x74mm]. General view of camp.[Platinum print, 100x74mm]. General view of camp. General view of camp. Note on reverse of print reads: 'View of Samiapett camp from N.E. Men's tents are struck. Officers' Mess 4 tents in a line on left. Novr. 1915. Note my shadow.' General view of camp. Scott was at Keng Lun on 28 February 1890.[Albumen print, 241x191mm]. General view of camp. General view of camp. General view of camp. General view of camp. General view of camp. General view of camp and settlement, with mountains in distance. General view of camp at Dhamoni (presumably Damoh). General view of camp at Seh Baba. Duplicate at Photo 430/2 (54). General view of camp in jungle clearing.[Gelatin silver print, 139x82mm]. General view of camp of Brahui nomads. General view of campsite. General view of campsite. General view of camp with mountains behind. General view of canal. General view of cascade and pool below. General view of cattle in a field. A chhatri is on the right. General view of cave interior, showing Buddha images. Klier's name, written in the negative, has been painted out in this print. Second copy neg at B.6978.[Albumen print]. General view of cement works. General view of cemetery. General view of cemetery attached to the Tomb and Mosque of Fateh Muhammad's family (see print 219a). For another copy of this print, in faded condition and titled, see Photo 1000 (2297a). [Albumen print, signed 'H.D.' in the negative, 292x232mm]. General view of cemetery with a European man sitting on the plinth of a tomb.[Albumen print, 174x106mm]. General view of Chamba from across the Ravi River. General view of chest tombs General view of citadel, slightly distant. General view of coffee plantation. The photograph is signed in the negative 'N & Co. 13', and this possibly refers to Nicholas & Co. General view of collection of buildings comprising the hotel. General view of collection of bungalows. Note on reverse of print reads: 'Kolosib. 52 miles from Aijal. Between here and Silchar. Quite a metropolis in its way consisting as it does of a post office and a local hospital. The photo is taken from just outside the dak bungalow gate and the clearing in the trees give the whole quite a park like appearance. Altogether very pretty.' General view of convalescent depot. General view of country. General view of countryside, probably taken from a moving train. General view of countryside. General view of countryside in the vicinity of the town. General view of countryside of rolling grassland and woods. General view of cromlech and cist, with field in background. General view of crowds. General view of cultivated fields and orchards. General view of dam, with reservoir beyond.[Albumen print, 260x206mm]. General view of dam, with water pouring through sluice seen in print 2.[Gelatin silver print, 290x226mm]. General view of damaged buildings. General view of dam and run-off below.[Gelatin silver print, 287x234mm]. General view of devotees bathing in the Ganga. General view of diggers at work. (Ancient Persis Map C3). General view of diggers at work around tower. Nine miles west of Bampur. General view of diggers at work on site, presumably at Tal-i-Gaud-i-Rahim, about three-quarters of a mile west of Sarvistan village. (Ancient Persis Map B2). General view of distant glaciers. General view of dockside activity, with boats moored on the left. General view of dry dock. General view of dwellings. General view of edge of city. General view of encampment. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 119, there titled, 'Tartar encampment': 'A day and a half brought me to the head of a large lake called the Tso Morari, where I found a large encampment of Tartars from whom I procured fresh yaks for the baggage. They are a curious people these nomad shepherds, living in settlements in black bell-shaped tents made of goats' hair, and tending their flocks and herds of sheep and goats. As long as they are camped at a great height they appear to be quite happy and content; but seem to dislike living below an altitude of about 16,000 feet, though they are driven down in the winter to the more sheltered valleys at 14,000 feet and 15,000 feet.' General view of encampment of tents. For other views of the wedding, see Mss Eur F225/45.[Silver printing-out paper, 292x212mm]. General view of encampment of tents. General view of encampment of tents. General view of encampment of tents on hillside, with group of villagers posed in the foreground. 'In winter Utmanzi Kuchis, with 350 camels and Lalpura Ghilzais with about 250 camels settle in the neighbourhood' (Gazetteer of Afghanistan, vol IV, p.97, Calcutta, 1910). General view of enclosed area.[Albumen print, 243x188mm]. General view of estate buildings, taken from a similar spot to print 13, but a slightly earlier date. The buildings in the photographs are marked with letters A-E, identified on the mount as follows: A, factory; B, overseer's house; C, end of store; D, manager's house in distance; E, Bunnea's shop.[Albumen print, 167x102mm]. General view of European buildings. A trade mart was established at Yatung, eight miles inside Tibet, by the terms of the treaty of 1893. General view of excavated area; unsharp. General view of excavated gate and wall. General view of excavated pit with cists. General view of excavated rooms, with Abdul Ghafar standing to indicate scale. Gedrosia, fig. 38. General view of excavated trench. General view of excavations. Illustration reproduced in John H. Marshall, Excavations at Charsada in the Frontier Province (A.S.I. Annual Report 1902-03, Calcutta, 1904), pl. XXIVb. General view of excavations. General view of excavations. General view of excavations. General view of expedition camp. General view of factory buildings, with land in foreground planted out with tea bushes.[Albumen print, 276x216mm]. General view of falls.[Collodion printing-out paper, 102x145mm]. General view of falls.[Gelatin printing-out paper, 245x189mm]. General view of falls. General view of falls. General view of falls. General view of falls. General view of falls from pool below. General view of farm buildings, with a bullock cart in the right foreground. General view of fields under rice cultivation. General view of fort, a well-preserved rectangular structure, with four circular corner bastions. Archaeological Tour in Waziristan, fig. 9. General view of fort, river in foreground. General view of fort, slightly distant. Small snapshot. General view of fort, with baggage camels in foreground. General view of fort, with soldiers marching past in foreground. General view of fort.[Silver printing-out paper, 180x116mm]. General view of fort. General view of fort and monastery buildings. General view of fortifications, presumably constructed by Henry Yule. General view of fortifications and the sea front. General view of fortified village. General view of fortified village. General view of fountains in the garden. General view of Gajner Lake where Imperial sand-grouse shoots take place. Curzon shot duck and grouse here on the 24th and 25th of November, 1902. General view of garden. From south. General view of gardens with river in foreground and buildings (presumably the mess) partially visible in the distance. An inexpertly hand-tinted print. General view of gateway. General view of ghats. Duplicate at Photo 430/40 (25). General view of ghats. Duplicate at Photo 430/40 (26). General view of ghats. Duplicate at Photo 430/40 (28). General view of ghats. General view of ghats. General view of Gibraltar from La Linea. General view of glacier and mountains. Innermost Asia, vol. 1, fig. 62: 'Head of Ming-taka Glacier, looking south-east from below pass.' General view of glacier an surrounding mountain peaks. General view of golf course with hills beyond. General view of golf course with the parsonage on a distant hill. General view of golfers on the fairway. General view of gorge to the south of Esfahan. General view of grave, laid out with wreaths and floral tributes. The inscription on the tomb records that Rhoda Susannah Mansel, wife of E.L. McAlester, died at Rosa on 29 December 1889. Her burial is recorded in IOR/N/1/210/f. 254. E.L. McAlester was a manager with Carew & Co., sugar refinery and rum distillers at Rosa.[Albumen print, 202x273mm]. General view of grave area, with digger posed in foreground. General view of grave area. General view of grave of Martha Shaw, mother of Robert Shaw and Clara Younghusband.[Albumen print, with photographer's stamp blind-embossed on mount, 139x98mm]. General view of grave plot in headstone in form of a cross. The background has been masked out. A pencil sketch of the cemetery on f. 33, shows Shaw's grave (without headstone), between that of Dr Duff and Edward Jones.[Albumen print, 152x208mm]. General view of grounds and countryside beyond. General view of Gupkar, south-east Srinagar. General view of harbour, looking towards lighthouse. General view of harbour and town. General view of harbour and waterfront. General view of headstone and plot, probably at Sabathu rather than Simla. The inscription reads: 'Sacred to the memory of Lieutenant Robert Wallace Rooke Duke of Edinburgh's Wiltshire Regt who died at Simla on 6th August 1888 from the effects of injuries received by being dashed against a wall by a runaway horse. Aged 27 years.' General view of hill and surrounding land.[97x72mm]. General view of hills, a figure is silhouetted in the foreground. General view of hills. General view of hills and lake. General view of hillsides with fortress wall on the left. General view of hill station and surrounding hills.[Albumen print, 203x149mm]. General view of hill with scattered bungalows. Annotations round the print include: 'Post Office; To Hurst Cottage; Kala Tope [and] Road to the Plains'. General view of hilly country. General view of Holmes' campsite. General view of house, with villagers standing in front. General view of houseboat. General view of houses. Poor quality print. General view of houses along hillside. General view of houses in the station with the mountain range in the distant. A pony trap is standing on the left. Similar view at Print 59.[Albumen print, 285x213mm]. General view of houses of the town (also known as Rampur), with temple in left foreground. General view of houses of village. General view of houses on hillside.[Albumen print, 150x97mm]. General view of houses on the bank of the Jhelum at Srinagar. General view of houses on the ridge.[Printing-out paper, signed 'Bali 88' in the negative, 291x213mm]. General view of Howrah Bridge over the Hugli. General view of inscribed pillar, with capstone and finial. General view of inscribed rock. General view of interior of fort, with mountains beyond. 'One mile to the west of the village stands an old fort, built in 1876 by Amir Sher Ali but now (1905) in ruins and unoccupied. The fort is rectangular, about 400 yards by 500, with walls 15 feet high. It has a circular bastion at each corner and three semi-circular bastions on each face. It stands close to the right bank of the river and on the opposite bank, at a distance of 1,300 yards from the north-east corner of the fort, is the town of Lalpura. The interior of the fort is completely commanded by the low spurs of the hills to the north-west and south-west within 400 yards. The fort was occupied by us during the second Afghan war, the normal garrison being 2 guns, 1 company British Infantry, 1 squadron, Native Cavalry, and 1 battalion, Native Infantry. The place proved most unhealthy to our troops, pneumonia being the most fatal disease. No opposition was offered to out occupation of the place which is of some importance owing to its position opposite Lalpura and to its being at the junction of several routes from the Peshawar valley' (Gazetteer of Afghanistan, part IV, p.97, Calcutta, 1910). No. 48 in Burke catalogue of Afghan War views. General view of Johnstone's grave, cemetery unidentified. The rough pencil sketch on the facing page, dated 1900, is presumably a portrait of Johnstone.[Silver printing-out paper, 190x238mm] General view of jungle waterfall on the Uma Oya south-east of Kandy. General view of Kodaikanal from above the town.[Gelatin silver print, 98x78 mm]. General view of lake, with two women silhouetted in the foreground, presumably Lisa Bartram and Wendy ---.[Gelatin silver print, 162x115mm]. General view of lake. General view of lake. General view of lake. General view of lake. General view of lake against a mountain backdrop. General view of lake and the glacier which spills into it.[Gelatin silver print, 118x164mm]. General view of lamp-lit scene. General view of landing place, with wooden platform in foreground. General view of large groups of spectators and tents. General view of large scale model, with bungalow in background.[Printing-out paper, 294x211mm]. General view of lawns. General view of lighthouse and associated buildings. General view of local craft on a canal. General view of Manmandir Ghat. Stereoscopic pair. General view of market, slightly distant. General view of market.[Gelatin silver print (modern print), 194x121mm]. General view of market. With French translation of caption pencilled on the reverse.[Gelatin silver print, 296x224mm]. General view of market and traders. For another copy of this photograph, see Photo 92/9 (247).[158x112mm]. General view of massive banyan tree at foot of hill.[Albumen print, 226x179mm]. General view of mass of oil wells. General view of Mercara (modern Madikeri), looking towards the palace and fort on the hill opposite. [Albumen print, oval vignetted image, 180x120mm]. General view of military camp. General view of military camp in the Lozaka Pass west of Bagh. General view of mill buildings, with pipeline running up hill in background. 'A mile below the village is situated the cotton-spinning factory of the Tinnevelly Mills Company, which is worked by water-power, generated by means of a channel fom the river, and affords employment to 530 hands.' (Imperial Gazetteer of India, xix, 406). General view of mine buildings and head of shaft. Negative only, no print. General view of mission buildings from a road, two figures standing on the left. General view of Moses' Well. General view of mound, near the village of Manzakai: 'Seen from the south at a distance it curiously resembles a huge stupa raised above a ruined high base. In reality this shape results from very extensive diggings for manuring earth which have reduced a once very large and high mound to a central mass flanked by detached 'witnesses' on the south and north sides...' (p. 82). This is a different site to the Spina-ghundai seen in print 109. General view of mound, slightly distant, with chain of men shifting earth visible along skyline. Similar viewpoint to print 177, which states that the view is from the south-west. The illustration in Gedrosia (see print 186) is taken from much the same angle and also states that it is from the south-west. General view of mound, slightly distant, with diggers at work on left. General view of mound, slightly distant. Gedrosia, fig. 44. General view of mound, slightly distant. General view of mound, with a party of diggers visible on the skyline. General view of mound, with diggers at work. General view of mound, with diggers at work. General view of mound, with diggers at work on the excavations in the distance. Archaeological Reconnaissances, fig. 34: 'Prehistoric site of Chah Husaini seen from dune to south-east.' General view of mound, with figure on ladder on face of terrace. (Ancient Persis Map B1). General view of mound, with man standing on skyline at summit. General view of mound, with ruined fort at summit and burial cairn in foreground. Gedrosia, fig. 58. General view of mound, with small conical tower of mosque on summit. General view of mound, with wall in foreground. General view of mound. Archaeological Reconnaissances, fig. 44: 'Portion of Hazar-mardi mound, seen from north-east.' General view of mound. Described, Gedrosia, pp. 168-69. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound. General view of mound (supposed site of stupa?). The annual report for 1906-07 states that no remains were found here. General view of mound after excavation. General view of mound and ruined fort. Gedrosia, fig. 33 General view of mound and ziggurat. General view of mound at Tal-i-Regi, west of Firuzabad, with figures in distance. (Ancient Persis Map, A3). General view of mound from an elevated position. General view of mound from below. General view of mound from south-east, with diggers at work. Gedrosia, fig. 62. General view of mounds. General view of mound with excavators at work. (Ancient Persis Map, B3). General view of mountain. Print in poorish condition, rolled.[Sepia toned (?)carbon print, 299x396mm]. General view of mountain. General view of mountain lake. Another copy of this photograph can be found at Photo 1143/1 (12). For a note on the photographer attribution, see collection introduction. General view of mountain lake and peaks. General view of mountain lake in Sikkim. General view of mountainous landscape. General view of mountains. General view of mountain scenery. Duplicate negative, no print. General view of mountain scenery. General view of Mussoorie. General view of nests on plain. General view of newly-constructed railway bridge. General view of oil wells. General view of open-ended sheds in the Indian military base camp.[Silver printing-out paper, 181x129mm]. General view of open space, with traders posed for photographer. General view of orchards, with pack animals of Stein's party among the trees in the foreground. (Ancient Persis Map C2). General view of outer walls of fort. General view of paddy fields, with buffalo ploughing. General view of paddy fields near the Jhelum south-east of Srinagar. General view of palaces. General view of palms. General view of partially excavated bodies in trench. Gedrosia, fig. 31. General view of partially excavated hillside. General view of part of mound, showing some excavation areas. General view of part of site. General view of part of the town, continued in print 177.[97x73mm]. General view of Pass. General view of pass with mountains beyond. General view of pavilions and fountains in the garden. General view of peak, with glacier in foreground. Deep fold down centre of print. Reproduced in Filippo de Filippi, 'Karakoram and Western Himalaya 1909' (London, 1912), facing p. 212, there captioned 'Gasherbrum'.[Gelatin silver print, 193x248mm]. General view of peak and surrounding mountains. General view of plateau. General view of pond. Duplicate at Photo 114 (13). General view of port and harbour area from the south-west. General view of port and shipping. General view of port buildings. General view of Port Said. General view of post, with parade ground in foreground.[Gelatin silver print, 140x80mm]. General view of post. A copy negative accompanies the print. General view of Quetta from the dome of the Town Hall, looking towards the mountains (Murdar). A similar view to print 69.[Gelatin silver print, 258x208mm]. General view of railway bridge, looking over the foreshore. General view of railway bridge, probably in the Bombay Presidency. General view of railway bridge, showing middle section missing. The BB & CI line crosses the Narmada River between Bharuch and Ankleshwar. General view of railway bridge over the Son River at Ara under construction (nearly completed). See also Photo 139/2 (32). General view of railway bridge under construction, with girder spans being laid on masonry piers. General view of regimental lines, a series of row of neat single storey barracks. Caption notes read: 'The housing of the entire regiment from commandant to followers, and the stabling of the horses, are all in new buildings specially built on approved sanitary principles. The quartering of the troopers is on the 'sectional system.' General view of regulator, with posed group standing on structure. General view of regulator. Print captioned and dated in the negative. General view of regulator. General view of regulator. General view of regulator and sluices.[Printing-out paper, 375x290mm]. General view of regulator and works.[Gelatin silver print, 133x175mm]. General view of regulator system.[Printing-out paper, 363x289mm]. General view of remains. (Ancient Persis Map C2). General view of remains of wall. Archaeological Tour of Waziristan, fig. 3. General view of repair work under way. General view of reservoir area before filling.[Silver developig-out print, 290x226mm]. General view of reservoir area before filling.[Silver developing-out print, 293x224mm]. General view of reservoir area before filling.[Silver developing-out print, 294x225mm]. General view of reservoir with the dam in the foreground. General view of Rest Camp Road. General view of riders crossing causeway. General view of ridge. Caption note continues: 'Showing the remarkable manner of perching the houses on the projections of the rocks. On the roofs of the monastery appear the sacred band of musicians, ready to give forth those discordant notes which form part of their devotions. A bara-durrie [baradari] or place of rest for travellers is seen in the foreground.' General view of river: waterfall not visible. General view of river at Ta Hsang Le, Kayah Province.[Albumen print, 239x186mm]. General view of river front. General view of River Ganga and ghats. General view of river passing between forested hillsides. General view of river running through gorge. Duplicate at Photo 481/2 (3). General view of riverside houses. General view of river Tambraparni and falls. General view of road. General view of road bridge. General view of road passing through a narrow section of the pass. General view of roads and gardens with the church on the far right.[Albumen print, 270x182mm]. General view of road winding through the Swat Valley. General view of rocks. A European man is standing in the background. General view of rocky country in the defile, with the fort wall running along a ridge in the middleground. Described in J. D. Beglar, 'Report of a tour through the Bengal Provinces...in 1872-73' (A.S.I. vol. VIII, Calcutta, 1878), pp. 88-89. General view of rocky hillside. General view of rocky mountains. General view of rocky outcrop in the Salt Range in the Punjab (India). Photographer's signature below print reads 'Major Mercer RA'. General view of rolling hills. Print in poor condition. General view of rooftops, with hills beyond. General view of ruined buildings after the Tibetan-Chinese conflict of 1911-12. Bell's typescript index notes that this photograph belonged to David Macdonald, but was taken by 'Kaziman Nepalai of Lhasa.' General view of ruins. From north. General view of ruins. Possibly taken at the time of the British occupation of the city during the Second Afghan War, 1879-80. General view of ruins. General view of ruins and town beyond. General view of Safamula Lake in Hazara District. Another copy of this photograph can be found at Photo 1143/1 (9). For a note on the photographer attribution, see collection introduction. General view of Sati Chaura Ghat. General view of Sati Chaura Ghat. General view of scattered bungalows. General view of shipping. General view of shipping and port buildings. General view of shipping in port. General view of shipping in the harbour from the quayside. General view of shipping on the river. General view of shop fronts. General view of Sigiriya rock fortress from the plain below. A note in Geraldine Mitton's hand reads: 'Sigiri rock from the south, showing part of the lake or tank [in foreground]. The extraordinary appearance of the red granite rock streaked with black by the soil carried down with monsoon rains is well seen.'[Albumen print, 280x214mm]. General view of Simla and surrounding hills. General view of Simla under snow. General view of Simla with mountain range in the distance. General view of single-storey stone building.[Printing-out paper, 308x244mm]. General view of site, distant. General view of site, looking towards excavations. General view of site, possibly at Khirsadoh. General view of site, with Afgrazgul and Kharat in middleground. Innermost Asia, vol. 1, fig. 132: 'Remains of ancient vineyard, with posts once carrying trellis, near N. XLIV, Niya site.' (I.A. Map 19, B1). General view of site, with diggers at work. Archaeological Reconnaissances, fig. 86: 'Excavations on prehistoric mound, Haraj.' General view of site, with diggers at work. General view of site, with diggers at work in excavated trench. General view of site, with group of excavators in middle distance. (Ancient Persis Map, B3). General view of site. (Ancient Persis Map B1). General view of site. (I.A. Map 8, B1). General view of site. Archaeological Reconnaissances, fig. 24: 'Site of Damba-koh, with burial cairns, seen from south.' General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site. General view of site (distant). (Ancient Persis Map, B3). General view of site (distant). General view of site of Buddhist monastery. General view of site with Alai Minar at left. General view of small brick building. General view of small bridge over the canal. General view of small pool, with men gathering water. General view of small stone building.[Printing-out paper, 310x248mm]. General view of small thatched houses raised on piles along the side of the hill. Photograph reproduced in Scott's 'Burma and Beyond' (London, 1932), facing p.190. Possibly the same location as Photo 92/6 (9), which is identified as the village of Klaw-ku. The reason for the abandonment of that village is given as plague. General view of small waterfall. General view of stalls, slightly distant. General view of steep wooded ridges, with the odd European house. General view of stonemasons' yard. General view of stone wall.. General view of stony hill, at the base of which Wakefield and Hill sat up at night in an unsuccesful attempt to bag a leopard.[Gelatin silver print, 136x69mm]. General view of surface workings. Negative only, no print. General view of surrounding countryside, with (?)Palace at right. General view of surrounding countryside. General view of surrounding countryside. General view of tank. General view of tank with houses. Three figures stand at the tank's edge. General view of tea plants in a field, two unidentified Europeans standing in front of a tree in the centre. The Borokai Tea Company Ltd estate was in Cachar, not in neighbouring Manipur as stated in the caption. General view of temples along the river front. General view of temples and ghat. General view of temples and ghats, local craft in the foreground. General view of temples and ruined buildings. General view of temples at the lakeside. General view of temples on a rocky hill. General view of tents, with group posed in foreground. General view of tents. Generalview of tents. General view of tents. General view of tents and huts of Archaeological Survey party. General view of tents on a hill. General view of tents pitched in a clearing. General view of terraced paddy fields, with a village in the foreground. General view of thatched buildings within the fort perimeter General view of thatched houses, similar to print 46. General view of thatched houses on a wooded ridge.[75x100mm]. General view of thatched houses on stilts perched on hillside. 'June 13th...The second night on our way back from Rinchenpung we camped at a village called Bungmo' (No Passport to Tibet, p. 78). General view of thatched longhouses. General view of the army convalescent depot on Jalapahar hill which formed part of the Darjiling cantonment. The distant mountains are now invisible due to print fading. Annotations along the bottom of the photograph identify the following locations: 'Kinchinjunga, The Dovecot, Col Ralston's bungalow [and] Hospital'. General view of the army encampment at Pezman (better known as Lukhai), a pass on the road between Gandamak and Jagdalak. Duplicate at Photo 430/3 (84). General view of the banian tree from the park. General view of the banyan tree, with Government House just visible in the background. A further note beneath the print reads: 'This photograph was taken in Decr. 1864, showing the ravages wrought by the great cyclone of that year.' [282x230mm]. General view of the bay, with fishing boats drawn up on the beach. General view of the bay. General view of the bazaar at Kurseong (Karsiyang). General view of the beach and palms. General view of the brick bridge near Dalaki. General view of the bridge, looking along the river towards the largely completed structure. The view appears to have been taken at around the same time as print 60, with supports still in place beneath the span seen in that photograph.[Albumen print, 301x184mm]. General view of the bridge, taken from the other side to print 61.[Albumen print, 302x183mm]. General view of the bridge, with bullock carts crossing. The Bridge of Boats over the Kelani River at Grandpass carried the whole of the Colombo-Kandy road traffic from its construction in 1822 until 1895 when the Victoria Bridge was opened. The Bridge of Boats was built by Lieutenant-General John Fraser, Assistant Quarter Master General.[Albumen print, 282x212mm]. General view of the bridge, with three figures standing in the (distant) middleground, identified as W.J.G., J.J.W., M.S. Print in poor condition, faded and yellowed. General view of the bridge.[Printing-out paper, 289x206mm]. General view of the bridge.[Printing-out paper, blind-stamped 'Lawrie', 291x201mm]. General view of the bridge. General view of the bridge from the riverbank. Modern copy print. General view of the bridge opened in 1874. . Possibly by Oehme. General view of the bridge over the Surkhab River. The bridge seen here is probably the old one some seven miles north-west of Gandamak, known as the Surkhpul or Red Bridge. General view of the bridge over Tolly's Nullah. General view of the bridge with a train passing over it. General view of the British Trade Agency buildings at Chumbi. General view of the buildings, erected in 1865 and containg a ballroom, meeting room and the Karachi General Library. Duplicate at Photo 481/2 (49). General view of the busy bazaar. General view of the camp, somewhat distant. General view of the camp. Scott's Gazetteer identifies Me Hsai as a small tributary on the right bank of the Mekong which for a portion of its length marks the border between Siam and Kengtung. General view of the camp at Lukhai. Duplicate at Photo 430/2 (48). General view of the camp of the 98th Regiment on the foreshore. General view of the campsite with the glacier beyond. General view of the camps of the British and Siamese boundary commissioners.[Albumen print, 235x188mm]. General view of the cantonment. Panorama in two parts. General view of the cantonment. General view of the cantonment. General view of the cantonment. General view of the cantonment with stables in the foreground. General view of the Cauvery Falls.[Gelatin silver print, 135x78mm]. General view of the Cauvery Falls General view of the Chambal. Duplicate at Photo 430/40 (14). General view of the Ch�teau Mousso, serving as a hospital for the Indian military base camp.[Silver printing-out paper, 209x150mm]. General view of the citadel with a cemetery in the foreground. Caption on the negative reads: 'Citadelle et cimitieres arabes'. General view of the city. Duplicate at Photo 10/12 (16). General view of the city. General view of the city from the fort. General view of the city seen from a high vantage point. General view of the city with the hill, named Hari Parbat, in the distance General view of the completed regulator.[Printing-out paper, 285x216mm]. General view of the course, with a race in progress. A very yellowed print.[Albumen print, 286x236mm]. General view of the dam. General view of the Dead Sea. General view of the defile. General view of the Dibang Valley. General view of the Dudh Sagar Falls near Castle Rock just inside the border of the Portuguese territory of Goa. The falls pass beneath a viaduct carrying the railway line. The mount is inscribed on the reverse: 'To H.E. Lord Curzon Viceroy & Governor General of British India. In honor of his visit to Mormuga [Marmagao] on 12th November 1900. By A.F. de Lima, Amateur. Chief Clerk to the Agent W.I.P. Ry and Clerk to H.B.M.'s Consul [Goa]. General view of the entrance gateway to the exhibition, designed in the form of a Buddhist torana. General view of the entrenched camp, showing ditch and ramparts in the foreground.[Albumen print, numbered '3740' in the negative, 279x207mm]. General view of the estate with tea-pickers working in the foreground being watched by two European men, presumably Brougham and Fyer. General view of the falls.[Printing-out paper, 199x144mm]. General view of the falls. A very faded print.[132x76mm]. General view of the falls. Duplicate at Photo 10/6 (26). General view of the falls. Duplicate at Photo 17/3 (33). General view of the falls. Precise location unknown in Mysore district not established (?possibly part of the Cauvery Falls). Holdsworth, who is credited with the taking of this and two other photographs, may have been a missionary colleague of Ellis's. General view of the falls. General view of the falls near Shencottah.. General view of the fall with a European woman standing in the foreground. General view of the finished line. General view of the fort. Archaeological Reconnaissances, fig. 33: 'Bampur fort seen from south-west, with prehistoric site in foreground.' General view of the fort. General view of the fort and the hills beyond. General view of the fountain, with goats in the foreground. General view of the gardens. General view of the Gersoppa Falls, showing the Rajah, Roarer, Rocket and Dame Blanche. A pencilled note points out that the Angel Falls in South America, since discovered is slightly higher. General view of the Gersoppa Falls. General view of the Gersoppa Falls on the Sharavati River.[Gelatin silver print (?copy print), 103x148mm]. General view of the ghat, very busy with bathers and worshippers. General view of the ghat, with people collecting water in pots. General view of the ghat. General view of the ghat and temples beyond. General view of the ghats. General view of the ghats. General view of the gorge with the rail track on the left. General view of the grave, surrounded by iron fencing in gothic style, of Sarah Sophia Lance (d.1863), wife of Charles Lance, Civil Service. Possibly at Monghyr (modern Munger). General view of the grave. Beneath the photograph is a printed label recording the inscription: 'Here rests, humbly trusting in the Rsurrection of the just, Elizabeth Emma, wife of Lt. Col. C.R. Baugh, Comdt. H.M.'s 9th Regt. N.I. Born 5th August 1824. Died 29th July 1867'. General view of the Gymkhana ground fromm the grandstand, with mountains beyond. Similar view reproduced in Frederick Bremner's Baluchistan illustrated 1900 (Quetta, c.1900, IOL V.6553). General view of the harbour. General view of the harbour front and shipping. General view of the high mound. General view of the hill. General view of the hill from below: 'The view represents the hill looking N.N.W. It is about 900 feet high, and the table land of the Baramahl is about 1200 or 1300 feet above the level of the sea.' Albumen print, 373 x 286 mm. General view of the hillside with bungalows on the ridge. General view of the hill station, looking across Nakhi Talav Lake. General view of the hill station, looking east towards Landour. General view of the hill station, with the roofs of bungalows visible among the trees.[Albumen print, 229x189mm]. General view of the hill station. General view of the hill station. General view of the hill station. General view of the hill station. General view of the hill station. General view of the hill station looking towards Christ Church. General view of the hill station with the church (Print 11) on the horizon. General view of the hill station with the Pass in the distance. General view of the hill with a gateway in the foreground. General view of the home of Napoleon during his exile on Saint Helena. General view of the hospital, a small, single storey thatch building.[Gelatin silver print, 142x80mm]. General view of the houses of the town General view of the island palaces. General view of the Jabalpur tank. General view of the Kusum Sarovar. Small faded print. General view of the lake. Duplicate at Photo 10/12 (15). General view of the lake. General view of the lake. General view of the lake and shore. General view of the lakeside. General view of the lakeside. General view of the line passing through a gorge with a group of Europeans being pushed along in a type of railway car. General view of the lines.[Albumen print, signed '3709' in the negative, 277x206mm]. General view of the line winding through the Pass. General view of the main square in Alexandria before the area was destroyed after the fire which followed the bombardment of 1882 (see print 68). General view of the Mall. General view of the massive hill fortress, east of Dogan, and known variously as Dezh-i-gumbadan and Habs-i-Isfandiyar. Described in Ancient Persis, pp.164-5 and Map C3. General view of the meeting of the two rivers. General view of the military hill station. General view of the military post, perched on a ridge some 23 miles from Simla. The parade ground in the centre; view taken from the fort. General view of the military post.[Albumen print, 241x178mm]. General view of the military post and perimeter wall.[Albumen print, 238x176mm]. General view of the military sanitarium. General view of the Mishmi cane bridge also seen in prints 1-2. General view of the mole barrier under construction.[Gelatin silver print, 240x184mm]. General view of the mound. General view of the mound. General view of the mountain. Duplicate negative, no print. General view of the north end. General view of the north side of the sacred rock, with houses and a largew stone gateway in the foreground. Albumen print, 364 x 244 mm. General view of the old palace. Duplicate at Photo 430/40 (29). General view of the open area in front of the mosque. General view of the open market space, with crowds gathered to trade. Letterpress continues: 'The Chanda market is held inside the City walls in the open air on a spot shaded by tamarind trees. These trees are of great beauty, and under their shade lines for market stalls are laid out in regular order'. General view of the pagoda in Eden Gardens. Small print. General view of the palace waterfront. General view of the parade ground, with a cricket match in progress.[Albumen print, 235x174mm]. General view of the Parthenon and surrounding buildings. General view of the Pass. Duplicate at Photo 481/2 (25). General view of the Pass. General view of the Penang waterfall, formed from two joined prints. Duplicate at Photo 1000 (4082), which states that this photograph was shown at the Paris International Exhibition of 1867. This photograph also forms the basis of the woodcut reproduced in 'The illustrated London News' of 5 February 1870, p. 137.[Albumen print]. General view of the pier and 'Titan' gantry crane. A point about half-way along the new arm is marked '31.3.07', presumably indicating progress at that date. General view of the pier with shipping in the harbour in the distance. General view of the railway bridge. General view of the railway bridge. General view of the railway bridge. General view of the railway bridge across the Jumna. General view of the railway bridge with the river in flood. General view of the recently-completed bridge, with group in foreground and locomotive beyond. Photograph enclosed in Agent's letter 506 of 22 April 1907. General view of the reclining monoliths, with Indian figures standing in the background. Letterpress continues: 'There are seven monoliths shown in this picture. On the right are representations of a fish, a cobra (Nag), and a tortoise. In the foreground is the figure of Devi, and immediately above it to the left are two more figures of Garur and Maroti, and above those again is a bull. The date of these sculptures is not exactly known. These monoliths are chiefly remarkable for their immense size, and are prettily situated in a glade surrounded by a jungle of large tamarind trees. The measurements of the figure in the foreground are 18 feet x 26 1/2 feet and will give some idea of the size of the rest'. The monoliths are known as Rayappa's Idols. General view of the reversing station at Bhor Ghat. General view of the Ridge, with Viceregal Lodge on the hill in the left background (distant).[Albumen print, 284x225mm]. General view of the ridge. General view of the Ridge from the west. General view of the river, with a steam launch on the water. General view of the river at the crossing point. General view of the river at the Marble Rocks. Print faded. General view of the river in a hilly landscape. General view of the road, with mile post in foreground. General view of the road running through the village. General view of the rope-worked railway at Spinawana. General view of the ruined fort wall and moat. Described in Nicholas & Co's catalogue as 'Seringapatam. No 8 The breach in the fort wall, made by the British in 1799'. General view of the ruined Residency buildings.[Albumen print, 287x194mm]. General view of the sanitarium. General view of the sanitarium. General view of the sanitarium with the castle on top of the hill. General view of the Sati Chaura Ghat, with an Indian standing with a cow and two donkeys in the foreground. Stereoscopic pair. General view of the sculpture niches beside the steps of the ghat. General view of the settlement. General view of the Siamese boundary commission camp at Hwe Lang. General view of the site, with diggers at work. General view of the site of what was to become the Memorial Garden and over which Marochetti's angel and Yule's memorial screen were later erected. The well and grave are surrounded by a low wooden fence. A somewhat washed-out print. Duplicate of Photo 193 (21). General view of the small hill resort, with snow capped mountains of the Pir Panjal range beyond.[Silver printing-out paper, 290x213mm]. General view of the small mound, with two figures posed on the summit. Gedrosia, fig. 59. General view of the snow-covered pass: 'July 2nd. Marched up the Hamta Pass. Halted to breakfast near the top, and got a picture of the top of the range, showing the mass of snow and ice which filled the upper part of the ravine we were ascending, and fed the stream which ran past Chikkan, the Rainee. Heavy clouds kept passing over and obscuring the peaks in a manner very trying to a photographer's patience. The distance from our halting place at Chikkan to the top of tha pass is six miles, two furlongs, 110 yards. It was nowhere very steep, and as a good deal of snow was still lying among the rocks, our track was easy enough. On returning in September, the rains had washed away all the snow, but in the meantime I had had a good path made along the side of the ravine. We were unfortunate in the weather, for as we reached the top of the pass, the thick mist closed round us and shut out the view. On my return, too, my luck was little better. Occasional glimpses through the mist showed me that there was a splendid glacier among the higher mountains to the east of the pass, but I could not get a picture.' (Egerton, p. 10). General view of the sports ground. General view of the square. General view of the station, with a locomotive and rolling stock of the Pawayan Steam Tramway Company on the line. A faded and yellowing print.[Albumen print, 265x182mm]. General view of the station. General view of the steel trestle viaduct across the gorge on the Mandalay-Lashio line of the railway. One of the Watts & Skeen 'Scenes on the Burma Railways' series (see wetstamp on reverse of print). General view of the steep wooded slopes of the valley. General view of the stone houses of the village in the Chumbi Valley. General view of the street, framed by the archway. General view of the Suez Canal. General view of the tank. General view of the tank in Jabalpur. General view of the tank where the source of the River Jhelum rises. General view of the Taxila region. General view of the tents of the Powinda camp. General view of the thatched houses of the village on the hillside, with a group of children (blurred) standing in the foreground. For another copy of this print, see Photo 92/11 (287). General view of the thatched huts of the camp. Twek Nga Lu was captured by Scott and Fowler in 1888. See G.E. Mitton, Scott of the Shan Hills (London, 1936), pp.120-25. General view of the tomb of Charlotte Hickey (d. 1783), wife of William Hickey.[Gelatin silver print, 87x135mm]. General view of the town, with hills beyond.[Sepia-toned print, 300x208mm]. General view of the town, with the Irrawaddy beyond, with the Government Offices prominent on the hillside above the town. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.489. It is there captioned 'Prome: from the Shwe-Tshan-Daw Pagoda'. Photograph unsigned, but probably by J. Jackson. General view of the town. A very faded print. General view of the town. General view of the town. General view of the town. General view of the town. General view of the town. General view of the town. General view of the town after redevelopment. General view of the town framed by a window. General view of the town from across the Nam Lwi. General view of the town from Gyantse Dzong. With the Palkor Chode Monastery and the Golden Temple in the centre background. The ruined tower seen in prints 133-134 can be seen on the ridge in the background. General view of the town of Shekar Dzong, also known as Tingri. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 440x316mm]. General view of the town with a mountain backdrop. General view of the town with a ship moored on the left. General view of the town with the fort in the distance. General view of the track winding through the Pass. General view of the tree, which stands with a walled enclosure. A Buddhist monk stands in the foreground.[Albumen print, signed 'Lawton' in the negative, 282x220mm]. General view of the trestle bridge. General view of the Turkish port. General view of the Umgeni Falls. General view of the valley. General view of the valley. General view of the valley. General view of the valley with the edge of a house on the left. General view of the village, with mountains beyond. General view of the village. Additional copy negs at B.6952 and B.6954. General view of the volcano, probably photographed by M.V. Portman. General view of the walled British cemetery near the Sherpur Cantonment. Duplicate (in better condition) at Photo 197 (26). General view of the walled garden of the Tibetan School at Gyantse, with Gyantse Dzong in the background. General view of the waterfall. General view of the waterfall and pool beneath. General view of the waterfront area. General view of the water reservoirs in the hills behind the town. General view of the water tanks at Aden. Mounted carte de visite print. General view of the winding Ganges at Motihari. General view of the woods in the southern part of the college grounds. General view of the yard. General view of the yard. General view of the Zandra Khawas Valley, with the settlement of Ziarat in the foreground and the road to Loralai leading off into the distance. Reproduced in Frederick Bremner's Baluchistan illustrated 1900 (Quetta, c.1900, IOL V.6553). General view of Tibetan camp. Faded print. General view of tower. A slightly faded print.[Albumen print, 307x375mm]. General view of town, slightly distant. General view of town, with river in foreground. General view of town. General view of town. General view of town. General view of town and fort walls. General view of town from above. General view of town General view of track. A faded and indistinct print.[Printing-out paper, 132x77mm]. General view of traders in market.[Gelatin silver print, mounted on card, 280x200mm]. General view of training ground.[Albumen print, 251x199mm]. General view of trees. General view of trees and paths. General view of trees with mountains in the distance. General view of trench being dug. (Ancient Persis Map B1). General view of Udaipur from the opposite bank of the Pichola Lake. The City Palace is in the distance, right of centre. General view of unexcavated (stupa?) mound. General view of unexcavated (stupa?) mound. General view of unexcavated (stupa?) site. General view of unexcavated site, looking towards river. General view of unexcavated site. General view of valley. General view of valley. General view of valley. General view of valley from an elevated position on the hillside. General view of valley with distant mountains. Caption continues: 'Lieut. Hughes being killed and Ryder and Gunning wounded. Also Zagaderai ground and villages advanced through by the Guides and Buffs on 16th Septr'. General view of valley with mountain in the distance. General view of village, slightly closer than print 69. General view of village, with mountain behind. Some fading. General view of village. (Ancient Persis Map, B3). General view of village.[Gelatin silver print, 137x80mm]. General view of village. General view of village houses, with jungle-covered hill beyond. Precise location unidentified, possibly in the Wa country. General view of village houses, with wooded hills behind. Scott arrived at Hsup Mut on 11 March 1890: 'Hsup Mut village of about eight decent houses. Camped quite close to it. Took some photos' (OIOC Mss Eur F278/6 f. 33).[Albumen print, 236x192mm]. General view of village houses set among trees on the hillside.[Gelatin silver print, 131x81mm]. General view of village houses surrounded by a low stone wall. The Mission occupied the small village of Tuna in early January, evicting the original inhabitants. General view of village on hillside. General view of village on the Mali Hka river. General view of villagers on a road with a memorial (?) in the background. General view of village wall, with group posed for photographer at left. (Ancient Persis Map C3). General view of wall, similar to print 66.[Gelatin silver print, 202x151mm]. General view of wall, similar to prints 66-67.[Gelatin silver print, 203x151mm]. General view of walls and bastions, with army group and pack animals posed in foreground. Some large tears in print surface. General view of walls and bastions. A faded and yellowed stereo view. General view of warehouses and workshops, etc. General view of waterfall. General view of waterfall. General view of water lilies on the Dal Lake. General view of Wat Ki Min or One-Tree Pagoda, enveloped by the roots of the tree growing from its summit. See also print 64. General view of weir on the Zaw Gyi River. Probably photographed in the portion of the river east of Kyaukse in Shan State. For an account (mythical and factual) of the canals and irrigation system in the Kyaukse district, see Scott's Gazetteer. General view of well, including Persian wheel. General view of well, with bullock team used for drawing water in the foreground.[Gelatin silver print, 131x79mm]. General view of well and wooden water wheel. General view of western end of fort at Loe Dakka. General view of widely spaced houses.[Albumen print, 272x186mm]. General view of Wingfield Park. General view of women's private ghat, busy with bathers. Print surface squared off in pencil for use as illustrator's reference. General view of wooded hills and mountains. A very faded print. General view of wooded hills at Mussoorie. General view of wooden huts set among trees in the Indian military base camp.[Silver printing-out paper, 209x151mm]. General view of workings. Negative only, no print. General view of workmen in trench. General view of workshops.[Albumen print, 199x169mm]. General view of wrecked buildings. General view of yard and workers, with buildings in background. General view of young tea bushes planted out in terraces along the hillside.[Albumen print, 218x148mm]. General view on the canal. General view on the canal in the city. General view on the course. General view on the river.[130x78mm]. General view on the Salween.[114x69mm]. General view on the Salween looking towards the mountain Loi Namon (Loi Na Noi?)in the distance. See also Photo 92/5 (53). General view over hilly country. General view overlooking cultivated fields and palm groves, with the fort at the centre. Archaeological Reconnaissances, fig. 29: 'Part of oasis of Qasrqand, seen from Qal'a-koh ridge.' General view overlooking the cemetery. Letterpress continues: 'This view shows the cemetery and in the distance Morrison's Hill - as described in No. 268. The small building in centre of grounds is used as a chapel - in valley or foot or Morrison's Hill is the Chinese School.' General view overlooking the racecourse at Happy Valley. Letterpress continues: 'As seen from Morrison's Hill - the buildings on right are New Stand, and Matsheds or Stable, used during race times by the owners of horses. - The length of the course is three-quarters of a mile - at the rear or foot of the hills is the Protestant Cemetery.' General view overlooking the town, looking north towards Sikkim and the Himalayas, with the peak of Kanchenjunga visible in the far distance. General view overlooking the town. General view overlooking the town. General view overlooking the town. General view over rooftops. A poor quality print. General view over rooftops. General view over site. General view over surrounding countryside. General view over the city. General view over the hills. General view over the plain, Inle Lake visible in the distance. General view over the rooftops. General view over the town, with the canal on the left.[Albumen print, 281x231mm]. General view over the town. General view over the town. General view over the valley at Nuwera Eliya. General view over wooded hills from Stein's camp north of Srinagar. General view over wooded hillside.[Gelatin silver print, 123x80mm]. General view probably taken at the same location as print 2577. General views, showing pilgrims' path to summit, shrine with tridents, bell, lamp and water tank, view of surrounding hills from top.[Gelatin silver prints]. General view showing a cricket match in progress. General view showing a train crossing the bridge. General view showing tents laid out along the ridge. General view showing terrace cultivation. General view showing tracks and pipework and some isolated buildings. General views of lake and close-ups of lilies. General view towards fort and camp. Poor quality, indistinct view. General view towards hills, with archaeological site in foreground. Archaeological Reconnaissances, fig. 26: 'Remains of ruined structure above Zerabad, Tiz.' General view towards mound. General view towards ruined fort at summit of mound. General view with a doonga in the foreground. General view with a European couple sitting in the foreground. Another copy of this photograph can be found at Photo 1143/1 (13). For a note on the photographer attribution, see collection introduction. General view with a game of cricket going on in the distance. General view with a ghat and buildings beyond. General view with a goods train and rail workers on top. General view with a group of Indians standing on a stone bridge. General view with a hill beyond. General view with a raft (ferry?) on the river. General view with bungalow in the distance. General view with catamarans and fishing nets on the beach. General view with children standing by a road. General view with Jhalawar State Boarding House on the left. General view with local craft moored in the bay. General view with men and ponies on the embankment. General view with mountains and clouds. General view with pavilions and other buildings at the lakeside. General view with Peel's statue. General view with pyres in foreground General view with riverbank in the foreground, the river and town in the distance. The print is of a similar tone and quality to the succeeding views of Dhaka. From February 1882 to June 1883, W.H. Nightingale was Divisional Superintendent of Dacca District Works. General view with Rukn-ud-din's mausoleum on the left. General view with shipping and lighthouses in the background. General view with the Assembly Rooms prominent in the centre. General view with the Indus in the foreground. General view with the roofs of bungalows visible amongst the trees. General view with the Secretariat on the right. General view with vegetable sellers and customers. General vieww of busy market scene looking towards entrance gateway.With some retouching of gateway for publication.[Gelatin silver print, 211x268mm]. General village scene. General winter scene with two figures on the left. Genetral view in the fort. Ghat flanked by pavilions. Ghat in foreground, bridge in European style beyond. Ghat in foreground. Ghats and distant view of Aurangzeb's Mosque. Ghats in foreground, looking towards the minarets of Aurangzeb's Mosque. Ghats on the river. Ghats on the river. Girder bridge across river gorge, with tunnel entrance beyond. Girder bridge across the Dilli River, Lakhimpur District, Assam. Girder railway bridg across the Yamuna at Mathura. Girder span being towed into position. Glass copy negative, no print. Fig. 16, Archaeological Reconnaissances in North-Western India and South-Eastern India (London, 1937). Glass copy negative, no print. Fig. 18, Archaeological Reconnaissances in North-Western India and South-Eastern India (London, 1937). Glass negative, no print. Grand harbour. Glass negative, no print. Harbour view with boats under sail. Glass negative, no print. Glass negative, no print. Glass negative, no print. Glass negatives, no print. Grand Harbour. Glass negatives, no print. Glass negatives, no prints. Miscellaneous views taken at various times. Includes some 'M.' series negatives, 1921 series (21/30-48), and 'R.' series (R.49-71). Glass negatives, no prints. There are two series of negatives, one marked 'R.K.' followed by a number, the second, which are variants of the first, marked 'R.K.A.' followed by a number. Previously listed as unidentified, the location can be identified as Roorkee by a number of views of the Thomason Civil Engineering College. A letterbox in one negative is marked 'Major E.W.C. Sandes, Royal Engineers.' Edward Warren Caulfield Sandes was Professor of Civil Engineering at the College from 1910-15. Glass negatives, no prints. Views of Stein's campsite, at Ishabar outside Srinagar and general views of Kashmir, many in Srinagar and Mohand Marg area (portraits of Stein's followers and servants, etc.). Negatives from 'J.N.' series, 'Sri' series and 1921 series. Gold or silver mine. Good general view of the rock-cut Buddha image, from below. Goods laid out on verandah overlooking street. Goods set out on tables beneath awnings. A numbered key identified the following items: molasses, cups, raisins, sugar, brooms; also walnuts, apricots, etc. Goods yard scene, with locomotives. Good view of a picotta in operation in a field. Grain seller seated in front of his shop. Faded snapshot. Green toned carbon print, in poor condition. Griffin's military escort on parade in front of the tents of the camp. Group, mainly children, posed in front of the Kamakhya Temple. Group crossing the footbridge. Group gathered in front of granaries. Group gathered near water's edge, with ferry in background. Group gathered on road leading out of Lhasa, with the Potala visible in the distance. Group of (?)pilgrims and guides posed beside wall in foreground, with domes of Kamakhya Temple visible in the background. Group of animals acquired and captured by Bailey and his colleagues, in the field in front of the Agency buildings. The figure in the centre, rather distant, is Macready. Group of Bhutanese porters on road, with European (Ludlow?) standing to one side, and houses of village in background. Group of boulders with sculpture (too distant to be clearly seen). J.D. Beglar, Report of a tour through the Bengal provinces...in 1872-73 (A.S.I. Vol. VIII, Calcutta, 1878), p. 37.Duplicate of Photo 1002 (46). Group of Buddha images from the Kawgun Cave. Photograph used as plate 41 of F.O. Oertel, 'Notes on a Tour in Burma in March and April 1892' (Rangoon, 1893).[Albumen print]. Group of camels on the British Indian side of the border. Behind them a notice reads: 'Frontier of India. Travellers are not permitted to pass this notice board unless they have complied with the passport regulations.'[Gelatin silver print, 138x81mm]. Group of cricketers including the touring English side. Group of fishermen, wearing characteristic round, flat hats. Group of five Miri men standing on riverbank.[Gelatin silver print, 111x84mm]. Group of four elephants with their mahouts in front of Burmese houses. Probably photographed at Mong Nai.[Albumen print, 179x117mm]. Group of four men posed informally among ruins of unidentified buildings. Group of horsemen in foreground, mountains beyond. Precise location unidentified, presumably in the Chitral District. Stereoscopic view. Group of houseboats and shikaris. Group of houses beside a stream. Late example of a salted paper print. Group of ibis bill nests set on the ground in a stony landscape. Group of Indian bearers(?) posed by a river. Group of Indian workers posed around cist in excavated pit. Group of irises, probably on the shore of the Dal Lake.[Silver printing-out paper, 102x76mm]. Group of Jain temples. This is probably one of the series of views of scenes at Jhansi associated with the Mutiny which was offered for sale by 'G.M.J.' in The Englishman of 26 July 1859, perhaps the print described as Jhokun Bagh Gosaen Tombs - across the road from where the Europeans were murdered. Group of local craft moored on the Irrawaddy at the water's edge, probably at Moda.[99x76mm]. Group of massive boulders at Garha. Group of miners posed beside railway trolleys on the hillside.[Printing-out paper, 306x244mm]. Group of monkeys in front of Galta temples. Group of officers inspecting the lines. Note on reverse of print reads: 'Taken at 31st Mule Corps lines when I was on Transport Class there. Jackson of Supply and Transport Corps is facing camera. [?]James of 2nd/7th Hants nearest camera. I in rear. Note the mules. C.' Group of officers posed on riverbank. A pencilled note on the back of the mount suggests that this might show the Jumna at Delhi. A very faded print.[Albumen print, 230x171mm]. Group of palms, with fort walls in background. Islamic tomb and tamarind tree. Duplicate of Photo 1000 (4243). Group of palms, with pool in foreground. Probably the print listed in the Nicholas & Co. catalogue as '76. Lotus tank and date palms'. Group of palms at the edge of a pool or river. Group of ponies being led up the path through the gorge. Group of porters in camp. Group of porters laying down their loads.[Printing-out paper, 96x74mm]. Group of porters seated on rocks. Group of pots photographed at find-spot with measuring rod. Archaeological Reconnaissances, fig. 39: 'Burial deposit D, at Khurab.' Group of pots photographed at find-spot with measuring rod. Group of pottery artefacts photographed at find spot, with measuring rod. Archaeological Reconnaissances, fig. 42: 'Burial deposit, L.i, of ceramic objects, at Khurab.' Group of riders. Group of steamers moored at an unidentified ghat on the Irrawaddy. The nearest vessel is unidentified. Behind her is the Shwe Loung, and behind her a larger paddle steamer, the Siam. Group of tents. Group of traders in market. Group of travellers with their ponies in the pass. Group of village children posed at the edge of a tank or lake. Group of villagers.[Gelatin silver print, 98x78 mm]. Group of Wa villagers posed in front of thatched hut.[Albumen print, 180x119mm]. Group of women seated in field. Group of wooden bungalows. Group of workers seated in verandah. Group of yak-hide coracles and ferrymen at the riverside. Group of yaks loaded with baggage in the snow. Group on horseback. Group on horseback. The figure on the left is probably Irma Bailey. Small snapshot. Group on horseback on dunes. Group on platform. Group on platform at railway station. Group on riverbank waiting to board rafts of inflated skins (Kaleks) to cross the river. Group on road with horse-drawn carriages.[Silver printing-out paper, 83x59mm]. Group on sloping ice or snow field. Precise location unspecified. Group posed at a cave entrance. Group posed at the mouth of a cave. Group posed for photographer in front of unidentified building. Group posed near cairn at the top of the pass. Group posed on a steep rock face. Group riding across the shallow river, somewhere in the vicinity of Giagong. Group seated beside river. Group seated in tent. Groups posed with dead tigers, views of forest and river landscape, dead tiger arranged in the back of an open car as if a passenger.[Gelatin silver prints]. Group standing foreground, bazaar beyond. The European standing at the left of the group is Sir George Scott, Superintendent of the Southern Shan States. Group standing round the well. Print is faded and torn. Group waiting on platform.[Gelatin silver print (modern print), 122x71mm]. Group with camels moving through a rocky pass. Precise location unidentified, probably in Sindh (present-day Pakistan). Grove of mastic and pistachio trees. Print faded. Gurkhas erecting a tent. Faded print. Half-length seated studio portrait, cabinet size. Half of a stereograph. See Print 78 for full version. Half-tone reproduction. Hand-coloured albumen print. Caption on print reads, 'Papenberg Rock'. Hand-coloured albumen print. Scene in Nara Park with tame deer. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Hand-coloured albumen print. Tame deer in Nara Park. Hand-coloured print. Hari Parbat Hill in the background. A woman and child have been painted into the bottom right hand corner of the photograph.[?Platinum print, 200x152mm]. Head-on view of ferry crossing river, slightly unsharp.[Gelatin silver print, 82x139mm]. Head-on view of the locomotive seen in print 26. Herd of buffalo on the riverbank of the Sweet Waters of Europe, one of the rivers debouching into the Golden Horn.[Albumen print, 260x200mm]. Herd of camels in the park. Herd of cattle being watered.[Gelatin silver print, 98x78 mm]. Hide set up beside stream. Hill and forest scene, with (?)farm in foreground. Hill and wood scenery. Hill road at Simla, with figures posed on the roadway. Hill road at Simla. Hill road in foreground, with Himalayas in the distance. Hill road through woods. Hill scene. Hill scenery. Some chemical staining on print. Duplicate at Photo 28/1 (13). Title in Bourne & Shepherd catalogue given as: 'Simla; ""Khuds"" north of Jakko, and the Mahasoo Hills'. Hill scenery. Hill scenery. Hill scenery. Hill scenery. Vignette print. Hill scenery and bungalows. Hill scenery in the Nilgiris. Holiday lodge on hillside. Holmes' camp under trees. Holmes' party setting off towards the mountain. Holmes' sister and brother-in-law are in the middle distance. Holy man feeding the monkeys on Jakko. Horizon tilted. Horsemen and others gathered below the Potala Palace for the Lugu Gardrik ('Preparing the Camp at Lubu' Ceremony). See Hugh Richardson, Ceremonies of the Lhasa Year (Serindia, London, 1993), p. 31. Horses being fed and watered beside a tank at Udwara (8 February).[151x106mm]. Horses being loaded up with baggage at Damthang. Horse statue near the entrance to the palace. Houseboat moored at side of canal. Houseboat on the River Jhelum. Houseboats and shikaras on the lake. Houseboats moored along the banks of the Jhelum. Houseboats moored along the banks of the Jhelum near Srinagar. Houseboats moored at Shadipur. Houseboats moored at the riverbank. Houseboats moored on the bank of the Jhelum. Houseboats on the Jhelum.[Silver printing-out paper, 102x76mm]. Houses along the bank of the Godavari (blurred). Houses beside river. Houses in foreground, mountains beyond. Duplicate negative, no print. Houses in the village, with mountain ranges beyond. Houses of the village, with hills behind. Houses on hillside, with mountains behind. Houses on stilts at the water's edge. Second copy neg at B.15665. Houses on stilts perched on hillside. Houses on the hillside, with the railway line running beside the road in the foreground. The Clarendon Hotel is the furthest away of the line of houses. Houses with hillside beyond. Housing and railway lines in foreground, open country beyond. Hugh Richardson standing among the cairns at the summit of Gyamberi, looking across the valley below towards mountains. 'Morgan, Chapman, Nepean and Richardson climbed of [above?] 17,450 ft. overlooking Drepung monastery. It is a very holy place called Gyenbay Ri. A kind of 'via sacra' marked out with stones leads along a steep ridge to the summit which is covered with cairns and prayer flags. We were told that the Dalai Lama and every monk must climb this hill on certain occasions. Those who are too old for much effort go up on yaks. Only the yaks belonging to the Dalai Lama are allowed to graze on so sacred a mountain.' (Lhasa Mission Diary, 27 September 1936).[Gelatin silver print, 155x103mm Hugh Richardson standing among the cairns on the dummit of Gyamberi. See note at print 199. See also Hugh Richardson, 'Ceremonies of the Lhasa Year' (London, 1993), p. 53, where this photograph is also reproduced.[Gelatin silver print, 156x102mm]. Hunting group on elephants in long grass in the Indian Terai. Hunting party in camp, with European group seated in centre in front of tents.[Albumen print, 237x183mm]. Hunting party negotiating a very narrow path along a cliff face. Hunting party standing in (?rice) field. [Gelatin silver print, 171x121mm]. Hunting scenes, with beaters, elephants, motor transport.[Gelatin silver prints]. Ice formation, printed from a broken negative. Image almost entirely faded away. Duplicate of Photo 1000 (4033). Image slightly blurred. Includes two views (261-2) of a motor car in the mountains. Including groups of local people and the fort at Kalat (29, 34). Incorrectly described in the original caption as a 'Mosque'. Index refers to Bell's diary VIII, 91. India Museum No. 112a. View across the Godavari River, with riverside houses, temples and ghats. Duplicate of Photo 1000 (657). India Museum no. 575. Duplicate of Photo 1000 (2518). India Museum no. 598. Duplicate of Photo 1000 (2542). Indian diggers posed in excavated pit with pottery pieces. Indian figure poling a raft in the foreground. Indian figure seated in a clearing at the top of the wooded hill. Indian group standing on a hill road. Indian group walking in the gardens. Indian group with ponies in front of a palace? Indian labourers at work in pit.[Gelatin silver print, 60x102mm]. Indian labourers carrying bales of jute into the pressing works. Indian location unknown. Indian man in European suit and an Afghan tribesman with rifle, posed on the North-West Frontier province side of the border. A notice behind them reads: 'It is absolutely forbidden to cross this border into Afghan territory.' Indian servants erecting tent. Indian village or basti. Other copies viewed of this print identify the location as Garden Reach. With European villas in the background. Photograph unsigned, but probably by Oscar Mallitte. Indian village scene. Indistinct and faded instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Indistinct and faded instantaneous snapshot looking towards unidentified buildings.[Albumen print, circular image, 62x62mm]. Indistinct and faded print. Indistinct and faded print. Indistinct image of mountain scenery. Indistinct instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot. [Albumen print, circular image, 62x62mm]. Indistinct instantaneous snapshot of a camp scene.[Albumen print, circular image, 62x62mm]. Indistinct print, looking across snowy landscape. Indistinct snapshot.[Albumen print, circular image, 62x62mm]. Indistinct snapshot. Herd of (?)cattle on a road in Patiala. Indistinct snapshot. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, Indistinct snapshot looking towards a group on a road or at the edge of a field.[Albumen print, citcular image, 62x62mm]. Indistinct snapshot taken while riding. Indistinct snapshot view of a tent.[Albumen print, circular image, 62x62mm]. Indistinct view. Indistinct view of river emerging from cave.[130x81mm]. In E.A. Storrs-Fox's typescript accompanying this album he writes: 'By putting (1) and (2) together [Prints 9-10] you get a panorama of the view of the upper part of the Vale of Kashmir as seen from the top of the Banihal Pass, with some of the flooded rice fields on the right, and some of the zigzags of the road descending the Pass on the left. Mount Kolahoi is faintly seen in the distance just above the bump to the right of the birch tree'. Innermost Asia, vol. 1, fig. 147: 'Clearing of refuse deposit between ruined quarter, L.A. V and L.A. VI, Lou-lan Station.' (I.A. Map 29, D3). Innermost Asia, vol. 1, fig. 181: 'Strip of boggy ground on salt-encrusted Lop sea bed, crossed towards Kum-Kuduk.' (I.A. Map 32, D4). Innermost Asia, vol. 1, fig. 182: 'Camp CVII at foot of clay terraces overlooking easternmost bay of dried up Lop sea-bed.' (I.A. Map 32, D4). Innermost Asia, vol. 1, fig. 183: 'Camp CVI with first vegetation reached on north shore of dried-up Lop sea bed.' With Stein's camels and porters grouped in foreground. (I.A. Map 32, D4). Innermost Asia, vol. 1, fig. 41: 'View down Yasin Valley from Chumarkhan. Rest-house near middle of view; castle behind it among trees.' Innermost Asia, vol. 1, fig. 44: 'Darkot Pass seen from below Barband Ridge.' Innermost Asia, vol. 1, fig. 53: 'Glacier pushed across Karambar River below Shuiyenj.' 'About eight miles below the pass, the valley contracts below the last grazing grounds of Shuiyenj. Beyond this the track led past the snout of a large glacier on the south, which has piled its ice against the rocky slopes opposite. The river thus blocked had cut its way in a big tunnel below it.' (i, 50). Innermost Asia, vol. 1, fig. 64: 'Terminal portion of Ishkuk Glacier, Chapursan.' Innermost Asia, vol. 2, fig. 299: 'Forest-clad northern slopes of T'ien-shan above Ch'uan-tzu-cheh.' (I.A. Map 28, B1). Innermost Asia, vol. 2, fig. 309: 'Ruins on western side of Toyuk gorge, seen from northenmost shrines.' (I.A. Map 28, D3). Innermost Asia, vol. 2, fig. 362: 'Sel-tagh or Muz-tagh Range, seen from Tars-Agar Pass.' Innermost Asia, vol. 2, fig. 364: title as above. (I.A. Map 2, C3). Innermost Asia, vol. 2, fig. 368: 'View down Tanimaz or Kudara Valley, from below Kizil-tokai.' Innermost Asia, vol. 2, fig. 371: 'Gorge of Bartang River, above Raut, blocked by earthquake. Newly formed tarn in foreground; former river-bed buried under rock debris.' Innermost Asia, vol. 2, fig. 373: 'Barrage thrown across Bartang Valley by earthquake, with western end of newly formed Sarez lake. View from about 12,000 feet height on Marjanai spur, looking to north-west. Clouds of dust raised by rock movement on higher slopes.' Innermost Asia, vol. 2, fig. 374: 'View to north-east across sarez lake from slope above Yerkh Fiord.' Innermost Asia, vol.2, fig. 376: 'Upper end of Yerkh Fiord, seen from north.' Innermost Asia, vol. 2, fig. 380: 'Buruman Ridge, seen across Yeshil-kol from mouth of Marjanai Valley.' Innermost Asia, vol. 2, fig. 428: 'Ice-streams joining main Sitargh Glacier from south, seen from about 13,000 feet.' Innermost Asia, vol. 2, fig. 434: 'View down Oxus Valley towards Kala-i-wamar, from above mouth of Bartang River.' In or near Jhansi? Instantaneous snapshot, possibly taken at Keng Tung in March 1890.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of a general view of a bazaar, probably photographed at Keng Tung in March 1890.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of jungle foliage.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot of tent in forest clearing.[Albumen print, circular image, 62x62mm]. Interior of cave.[Albumen print]. Interior of cave with Buddha images.[Albumen print]. Interior of fort, with tents pitched inside walls. Interior of the banyan tree in the garden of Government House, Barrackpore, with a seat at its centre. [290x225mm]. Interior view of the orchid house. Interior view In the foreground is a group of Himalayan guides with yaks and baggage. In the ground below the walls spectators are watching a carriage race. Irma Bailey and Tibetans in front of tent. Irma Bailey standing with the holy manon Jakko, surrounded by monkeys. Small snapshot. Irma Bailey with tame deer in garden at Gangtok. Irrawaddy Flotilla Company steamer moored at Mandalay. Islamic tomb and tamarind tree. Duplicate of Photo 1000 (4242). Jetties seen from opposite bank of river. A note by A.G. McCrae on the verso reads: 'Strand, Rangoon. Barr St Jetties were public jetties close to city centre used by all & sundry. They remained as they are until around 1967 when I was last in Rangoon'. Joins with print 10 to form a panoramic view. Joins with print 11 to form a panoramic view. Joins with print 313 to form a panoramic view of the encampment. Joins with print 314 to form a panoramic view of the encampment. Joins with print 60 to form a panoramic view of the monastery complex and surroundings. The cave where Atisha lived is one the hillside behind the monastery at the extreme right. 'Indian pandits, the chief of whom was Atisha, continued to visit Tibet, promoted the religion and were well-received. The cave where Atisha lived, sixteen miles east of Lhasa, is still preserved. High up on the sunny mountainside, surrounded by stunted junipers and bushes of wild currant and wild rose, it seemed a fitting home for a religious reformer in this land of ice and snow.' (Sir Charles Bell, Tibet Past and Present (Oxford, 1924), p. 31). Joins with Print 8 to form a panorama. Joins with Print 9 to form a panorama. Juna Rajawada in distance. Jungle-covered hillside. Original and duplicate negatives only, no print. Jungle scenery. Jungle scenery looking towards mountains.[Coloured lantern slide, 82x82mm]. Junks under sail in the gorge. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 72, there titled, 'Nature has here assumed her grandest and most solemn garb'. Junks under sail in the Gorges. Junk under sail in the gorges. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 104, there titled, 'A quiet reach on the Yang-tsze'. Khan River at Indore. King Thibaw's state barge moored on the Irrawaddy, probably at Mandalay. Built in the form of a catamaran, with accommodation and a large wooden spire between the two hulls and gigantic double figureheads. Kirghiz guide leading a yak through deep snow at the head of the pass, with another guide bringing up the rear.[Gelatin silver print, 216x292mm]. Kurram Valley largely obscured by cloud. Kyaiktiyo Pagoda at Kyaikto. Second copy neg at B.25657. Labourers (mainly women) descending a wooden walkway into a quarry or mine. The women carry shallow baskets on their heads. Labourers at work at rock face at Pallavaram, just south of Madras. Labourers at work in platforms slung onto the side of the cliff. Labourers harvesting (?)rice. Labourers repairing the damaged log bridge. La Capponcina was the villa at Settignano near Fiesole, outside Florence, owned by Filippo de Filippi, an Italian mountaineer and surgeon who had known Stein since the early years of the century. Lacroma is the small island just off Dubrovnik. Laden camel on the road. Laden caravan of Bactrian camels in the desert. The reverse of the print is dated 1925: if this is correct, the photograph cannot have been taken by Skrine, who left Kashgar on home leave in late 1924.[Gelatin silver print, 296x105mm]. Laden cattle and drivers on the road. Lake and bridge in foreground. Second copy neg at B.25654. Lake at left, dam and embankment in foreground. Caption notes read: 'Moti Talab, or lake of pearls, near the French Rocks, is formed by the embankmant carried across a gap between two hills which stems the water of the Yadava River. The bund is 78 cubits high, 150 long, and 250 broad at the base, and is said to have been built by Ramanujacharya, the Srivaishnava reformer of the 12th century. The tank was breached by Tipu Sultan in 1798 to prevent its being of use to the enemy, but was restored by the British and is maintained in good order.' Lake bed and mountains at Boihill, south-west of the Mintaka Pass. Lake in the botanical gardens. Lake in the Eden Gardens. Carte-de-visite sized print, faded. Lake is just visible round the corner of the rocky slope. Lake scene, framed by trees. Unnumbered and unsigned print, but taken at the same location as print 47, signed by Bourne. Probably Bourne & Shepherd catalogue number 972. Lake scene. Lake scene. Lake scene with a shikara in the foreground. Lake with mountains beyond. Lake with mountains beyond. Lake with water lilies in the foreground. Landscape and cloud study. Landscape view. A later annotation reads: 'View near Udiagirri'. Landscape view.Duplicate of Photo 1002 (48). Landscape view. Later annotation reads: 'Udiagirri, Ganjam Hill Tracts'. Landscape view. See notes with Print 2. Landscape view in NWFP. Landscape with palms in foreground. Duplicate negative only, no print. Large clumps of bamboos in foreground, thatched houses beyond. Large embankment in foreground, with rail workings beyond. Spinawana is situated at the western end of the Khojak Tunnel. Large flock of sheep at edge of frozen lake. Large group (market traders?) gathered beneath trees. Large group of cows on pavement. Stereoscopic pair. Large group of men in square in foreground looking towards photographer. Large group of palms. The print is captioned 'Tullipot palms near Kandy', but the view appears to have been taken in Southern India, where the photographer Penn was based. Large jar photographed at find-spot with measuring rod. Large jars and other pottery artefacts photographed in find spot, with measuring scale. Archaeological Reconnaissances, fig. 38: 'Burial deposit of pottery, B.ii, at Khurab.' Largely indistinct print. Large milestone in the form of a classical portico, giving distances to several towns. Spire of Holy Trinity Church in the background. Large oblong folio case, with title leaf and 64 loose sheets of photogravure plates of photographs illustrating the topography, architecture and industrial and argricultural productions (tobacco, petroleum, coffee, rubber and rice) of north-east Sumatra. Large pipul tree at an unidentified Indian location. The photographer's portable dark tent can be seen beneath the tree. Larger duplicate of Print 216. Large rock on the bank of the Tsangpo. Large unidentified building, possibly a hotel. This is possibly the Elysium Hotel, which is listed on a separate sheet as one of the Simla views in the album. Lateen-rigged boats at their moorings. Small snapshot. Lateen-rigged craft under sail. Lateen-rigged sailing boat on the Euphrates. Lateen-rigged trading vessels, probably photographed at Diu. Negative marked up for cropping. Duplicate negative only, no print. Lateen-rigged trading vessels and smaller local craft moored in the harbour at Diu. Negative marked up for cropping. Duplicate negative only, no print. Later print from an early negative.[Gelatine developing-out paper, 232 x 178 mm]. Later print from an early negative.[Silver printing-out paper, 232 x 179 mm]. Lbourers at work making bamboo rafts at the riverside.[Gelatin silver print, 131x81mm]. Left-hand portion of a panoramic view. The river is seen in print 65. Left-hand print of panoramic view of Citadel, continued in print 8. Left-hand section of a panoramic view linking up with print 18. Left-hand section of a panoramic view of Chamba fom the south, continued in print 57. The Rang Mahal Palace is the most prominent landmark in this section. Left-hand section of a three-part panorama comprising prints 19-21. Pencilled caption on the reverse identifies the following locations: Clifton, The McIvers' [bungalow], my bungalow, Frere Hall, Linde Club. Left-hand section of five-part panoramic view, comprising prints 149-153, of mountain scenery. Distant view of Pauhauri. Left-hand section of four-part panoramic view formed by prints 61-64. left-hand section of panorama, continued in print 30. This section looks across the gorge and does not show the viaduct itself. Left-hand section of panorama, continued in print 38. This part shows a village in the foreground, with part of the reversing station on the hillside beyond (distant). Left-hand section of panorama, continued in print 47. View from the quayside looking across the river, with the steamer 'Palitana' berthed in the foreground.. Left-hand section of panorama. Left-hand section of panoramic view, continued from print 162. Ta-ling-k'ou does not appear to be marked on Stein's map, but is presumably in the same section as the Pa-no-p'a Valley. (I.A. Map 28, B1). Left-hand section of panoramic view, continued in print 28. Left-hand section of panoramic view, continued in print 32, looking down onto the Gokteik Gorge. This section of the panorama shows mostly jungle and little of the viaduct. Left-hand section of panoramic view, looking down onto the railway line curving round the gorge. Other half of panorama at print 5. Left-hand section of panoramic view formed by prints 70-71. Left-hand section of panoramic view formed by prints 72-73. Left-hand section of panoramic view formed by prints 75-76. Left-hand section of panoramic view formed by prints 77-79. Left-hand section of panoramic view formed by prints 87-88. At the left Satdhara's Spring and Pippala's Residence can be seen. Left-hand section of panoramic view formed by prints 89-90. Left-hand section of panoramic view formed by prints 96-97. Left hand section of panoramic view of the bridge, and duplicate of part of Photo 481/4 (2). Possibly taken at the opening of the bridge in March 1889. This print joins up with print 35. Left-hand section of panoramic view of the camp, joins up with print 24. Note on reverse reads, '...Piaza Camp on top of the Raghza (plain) and the Tank Zam river bed. The stream crosses the camel track dozens of times & is always changing its course except when in spate when it touches both sides. A little cultivation on soil deposited on the banks & a few trees, willows & a kind of birch.' Left-hand section of three-part panoramic view, comprising (left to right) prints 449, 445, 450 (second exposure of middle section), 446. The central and right-hand sections are reproduced as Innermost Asia, vol. 2, fig. 430: 'Panoramic view from Shitam Pass to west (left) and north-west (right). For photograph connecting this view with fig. 429, see Fig. 427 [print 449].' Left-hand section of three-part panoramic view, comprising prints 51-53. Left-hand section of three-part panoramic view, comprising prints 9-11. Distant view of stupa and vihara remains. Plate 9 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Left-hand section of three-part panoramic view. looking towards mountain peak. The panorama comprises prints 261-263, with variants of each print at 261a, 262a, 263a. Left-hand section of three-part panoramic view. Left-hand section of three-part panoramic view comprising prints 384, 387, 389. View looking across cultivated fields towards mountains. Left-hand section of three-part panoramic view formed by prints 65-67. Left-hand section of three-part panoramic view from Chini-bagh, the British Consulate at Kashgar. Adjoining sections at prints 290 (centre) and 295 (right). (I.A. Map 2, D2). Left-hand section of two part panorama, comprising prints 216-217. View looking along the cultivated valley (divided up into small fields) towards hills behind. Left-hand section of two-part panorama comprising prints 331 and 334. Left-hand section of two-part panoramaic view, continued in print 5. Left-hand section of two-part panoramic view, comprising negatives 25-26. Duplicate negative from a nitrate original now destroyed: no print. Left-hand section of two-part panoramic view, comprising prints 111-112. Left-hand section of two-part panoramic view, comprising prints 15-16. Left-hand section of two-part panoramic view, comprising prints 172-173. Left-hand section of two-part panoramic view, comprising prints 179-180. Archaeological Reconnaissances, fig. 45: 'Mound of Kunar-sandal, seen from south-east.' Left-hand section of two-part panoramic view, comprising prints 199-200. View looking west towards the citadel over the rooftops of the houses of the town. Archaeological Reconnaissances, fig. 54: 'Ruined town of Bam, with Citadel.' Left-hand section of two-part panoramic view, comprising prints 202-203. Left-hand section of two-part panoramic view, comprising prints 211-212. (Ancient Persis Map C3). Left-hand section of two-part panoramic view, comprising prints 213-214. (Ancient Persis Map C3). Left-hand section of two-part panoramic view, comprising prints 217-218. (Ancient Persis Map C3). Left-hand section of two-part panoramic view, comprising prints 252 and 254. (Ancient Persis Map B1). Left-hand section of two-part panoramic view, comprising prints 272-273. Gedrosia, fig. 45. Left-hand section of two-part panoramic view, comprising prints 276-277. Left-hand section of two-part panoramic view, comprising prints 294-295. Gedrosia, fig. 47. Left-hand section of two-part panoramic view, comprising prints 304-305. Left-hand section of two-part panoramic view, comprising prints 33-34. Left-hand section of two-part panoramic view, comprising prints 341-342. Left-hand section of two-part panoramic view, comprising prints 352-353. Left-hand section of two-part panoramic view, comprising prints 395 and 403. Innermost Asia, vol. 2, fig. 383: 'View over Yeshil-kol, from Buruman Ridge. Arrow marks mouth of Little Marjanai Valley.' Left-hand section of two-part panoramic view, comprising prints 397 and 402. Genera; view looking down the Langar Pass. Left-hand section of two-part panoramic view, comprising prints 398 and 401. View looking towards scree and rubble on hillside, presumably the result of earthquake activity, with a small portion of the lake visible in the foreground. 'To the eyes of the non-geologist the formation of the Buruman ridge closing the western end of the lake...seemed to bear a close resemblance to the newly formed barrage which has created the Sarez lake...' (ii, 857). Innermost Asia, vol. 2, fig. 381: 'Range facing Buruman ridge across western edge of Yeshil-kol.' Left-hand section of two-part panoramic view, comprising prints 449-450. Left-hand section of two-part panoramic view, comprising prints 461, 462. Left-hand section of two-part panoramic view, comprising prints 495, 491. Left-hand section of two-part panoramic view, comprising prints 67-68. Left-hand section of two-part panoramic view, comprising prints 69-70. (Ancient Persis Map, B3). Left-hand section of two-part panoramic view, comprising prints 7-8. Left-hand section of two-part panoramic view, comprising prints 78-79. Left-hand section of two-part panoramic view, comprising prints 90-91. Left-hand section of two-part panoramic view, comprising prints 97-98. Left-hand section of two-part panoramic view, continued in print 184. Innermost Asia, vol. 2, fig. 311: 'Ruined shrines on west side of Toyuk Gorge, seen from ruin Toy. VI. Arrow [to right of centre, in print 184] marks position of main group of shrines, Toy. IV.' (I.A. Map 28, D3). Left-hand section of two-part panoramic view, continued in print 286. Innermost Asia, vol. 1, fig. 48: 'Glacier descending to north-west of Darkot Pass, with its western feeders. Seen from northern moraine at an elevation of circ. 13,500 feet.' Left-hand section of two-part panoramic view, continued in print 54. This print is not apparently listed in Stein's negative notebook, but is dateable from the adjoining section, which is. (I.A. Map 7, B4). Left-hand section of two-part panoramic view, continued in print 97. Showing edge of spring and reed-beds, with camels. This print somewhat faded. (I.A. Map 29, D3). Left-hand section of two-part panoramic view comprising print 97-98. Left-hand section of two-part panoramic view comprising prints 112-113. View from Cholhamo looking towards the mountains. Left-hand section of two-part panoramic view comprising prints 128-129. Covers approximately the same area as prints 125-127. Left-hand section of two-part panoramic view comprising prints 246-247, looking down onto the valley and showing the winding course of the Ammo Chu. Left-hand section of two-part panoramic view formed by prints 6-7. With part of the troop encampment visible in the right foreground.[Printing-out paper, 149x111mm]. Left-hand section of two-part panoramic view looking across the river towards Tse-tang. Panorama comprises prints 197-198. Left-hand side of panoramic view, continued in print 17. Left-hand side of panoramic view. See also print 53. Left-hand side of panoramic view looking down onto the railway line, bridge and river. The bridge is entirely in this half of the panorama. Other half of panorama at print 15. Left-hand side of panoramic view looking up-river towards the railway bridge over the Myitnge near Nawnghkio. Other half of panorama at print 13. Left side of a panoramic view, looking towards the Indus River. Left side of panorama. Left side of panorama. Left side of panorama. Letterpress continues: 'A fallen tree over Tiger Alley near the American Mission at Kemindine'. Tiger Alley was one of the roads leading out of Rangoon to the north. Letterpress continues: 'Another view of the Bund at Shameen looking to the westward, - on the right is the English Church.' The church is obscured by trees apart from its tower. Letterpress continues: 'From this water fall which rises from a never failing spring on the Victoria Peak, the whole of the Island is supplied (by means of pipes laid through the streets) with water for domestic purposes. The house seen on the hill in the distance is known as Mountain Lodge and is the summer residence of His Excellency the Governor.' Letterpress continues: 'It is distant about 200 miles from Canton - the large building on right is a theatre, built entirely of bamboo - the other buildings ar Chinese dwellings - in front is the West River.' Letterpress continues: 'Taken from the Victoria Peak, the Zig Zag Road is from the Peak to Pokfoolum, at the foot of the hills are summer residences, in the dustance is Pokfoolum Bay.' Letterpress continues: 'The building on the right is the White Cloud Temple, on the left and front are granite rocks, from which there is a small water fall - this is a very pretty place - the rocks are covered with banyan trees and ferns.' Letterpress description reads: 'Chanderi is picturesquely situated on a great bay of hills overlooking the valley of the Betwa and entered by narrow passes which made it in olden days a place of considerable strategic importance. The surrounding hill sides are thickly covered with tree jungle which furnishes a rich hunting ground. The town flourished under the Sultans of Mandu and most of the buildings here date from the 15th century. The place is still known for its muslin industry. The hill fort of Chanderi illustrated in this photograph played a conspicuous part in the days of the Muhammadan rule'. Letterpress description reads: 'The Jayaji Chowk is the biggest square in the heart of Lashkar city, taking its name from a bronze statue of Maharaja Jayaji Rao the grand-father of the present Maharaja, which stands in the centre on a high pedestal protected under a pointed spire. This square is the busiest part of the city and surrounded with the Town Hall or theatre, the A.D. Press, the Victoria Memorial Market, the Gorkhi or old Palace, the general Post Office, the High Court and the Imperial Bank, makes an impressive city picture seen at its best by the electric light in the evenings'. Letterpress description reads: 'This bridge spans the river Sindh and is located half way between Satanwara and the historic town of Narwar with its large hill fort. The bridge is a part of the road which the Mughal Emperors constructed for the convenience of their forces marching into the Deccan. In the territories of Gwalior State this road passes over at least three such bridges and is punctuated with a number of typical sarais at convenient stages. This particular bridge is situated in a picturesque valley with romantic natural scenery'. Lidar River at Lidarwat. Liddar River emerging from beneath snow bridge. Lighter under sail in the harbour.[Gelatin silver print, 98x78 mm]. Light railway train loaded with freight on a forest line. Light sailing craft on the river. Line of baggage horses climbing the pass. Line of bullock carts loaded with bales of cotton driving through Bombay. Line of covered rice boats moored along the bank of the river. Line of donkeys carrying harvested crop on road at Gyantse. Line of elephants carrying bearers across a river. Line of elephants moving forward during tiger hunt. Line of elephants on a jungle road. Line of laden donkeys led by a farmer. Line of men out shooting. Line of pack animals moving up the pass. Line of pack horses on the snow-covered road. Line of ponies crossing the frozen river. Line of porters marching through snow. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 229, there titled, 'My coolies marching through snow.' This image is also used as the basis for the cover illustration. Line of rickshaws at a rickshaw stand. Line of shikaras moored at the Dal Gate. Line of small fishing boats on the lake. Line of villagers greeting the British official. Line passing through tunnel in rock face on the Colombo to Kandy line. Original negative number '2083' has been scratched out on print: the pencilled number '2129' on the reverse corresponds with the print entitled 'View on the Ceylon Railway' in the Bourne & Shepherd catalogue.[Albumen print]. Line running alongside river; bridge embankment in background. Live specimen among bamboos. Loaded caravans on the road. with hills behind. Loaded elephant on the roadway, with a European figure seated on the wall in the foreground.[Printing-out paper, 115x76mm]. Loaded pack animals arriving. Local boat being poled across the river.[Gelatin silver print, 106x37mm]. Local boats moored beside creek. Local boats moored on the Jhelum at Gunderbal.[Silver printing-out paper, 103x76mm]. Local boats on the Jhelum.[Silver printing-out paper, 102x76mm]. Local boat under sail on the backwaters.[Gelatin silver print, 81x55mm]. Local craft moored on the canal. Local craft on a river in a swamp. Local craft under sail.[Gelatin silver print, 60x99mm]. Local craft under sail on the Hugli near Calcutta. Local houseboat moored at the water's edge, with European sailing ships beyond. Carte-de-visite sized print. Local lateen-rigged sailing boats on the Euphrates. Locomotive and passenger wagons drawn up at station. A faded and yellowing print.[Albumen print, 264x189mm]. Locomotive and passenger wagons of a Pawayan Steam Tramway Company train drawn up at Ghulia.[Albumen print, 265x190mm]. Locomotive and rolling stock drawn up at station.[Albumen print, 264x190mm]. Locomotive and wagon drawn up at Paina Station.[Albumen print, 265x190mm]. Locomotive emerging from the adit. Locomotive of the Pawayan Steam Tramway Company passing through the village. The line runs along the main street. A faded and yellowing print.[Albumen print, 265x190mm]. Locomotive on the line, with a steep drop on the right. Locomotive pulling passenger wagons and timber flats, halted at the terminus.[Albumen print, signed 'Fry & Rahn. No. 270' in the negative, 283x135mm]. Locomotive taking on water at Koran Kua, with passengers in wagons behind. A faded and yellowing print.[Albumen print, 264x189mm]. Log cabins in foreground, looking towards mountain peaks. Loking down into the valley below. Long, narrow panoramic view composed of two joined prints, looking southwards towards the Safed Koh mountain range, with military camps in foreground. Long, narrow panoramic view composed of two joined prints, looking southwards towards the Safed Koh mountain range from Safed Sang. Long dugout ferry loaded with baggage crossing the river. Long masonry railway bridge of 25 spans at an unknown location. Looking across a field towards thatched huts raised on piles. Looking across a village pool towards houses beyond. One in the series of views in the Bourne & Shepherd catalogue entitled 'Rustic scenes and village life in Bengal'. Looking across lawns in the Lal Bagh towards a single-storey European building flanked by two square towers. See also print 37. Looking across open ground towards a European bungalow, probably in the cantonment. A later print (1890s) of a Bourne photograph entitled An Indian compound, Banian Tree and Bungalow, Umballa. Looking across paddy fields towards a monastery. Half-tone reproduction. Looking across paddy fields towards Mong Pawn. Looking across planted-out fields, with a European overseer directing pickers. Incorrectly captioned on reverse 'Coffee plantation, Ceylon'. Looking across the city, Ganges in background. Looking across the city towards the Ganges. Looking across the crowded camel market. Looking across the garden towards other tombs and ruins . Looking across the Luni River to the hills beyond. Looking across the Mula River towards the town. Looking across the pass towards mountains. Looking across the plain towards the fort of dzong at Phari. Looking across valley towards mountains. The Bourne & Shepherd catalogue lists this view as 'Prize Photograph, 1863-64'. This is somewhat faded copy. Looking along a fir-lined avenue. Looking along an avenue of trees towards the temple gates. Looking along an unidentified village street. Looking along a street towards a triumphal arch. Looking along a street towards the Char Minar, a square building with four massive angle towers built at the end of the 16th century and forming a sort of triumphal arch over the roadway which passes beneath the building. Upper stories apparently once used as a college. See also print 24 for a more detailed view. Looking along a valley towards mountains. Looking along path, with oblique view of rock painting. Looking along railway line. Looking along street towards temples. Looking along the curve of the River Jumna from the terrace of the Diwan-i-Khas towards the Taj in the distance. Only part of the Hall of Private Audience is visible at the right. Looking along the cutting towards the mouth of the tunnel. Looking along the edge of a sheer mountain cliff, the tracker Moladad seated in the middle distance. Precise location unidentified, probably in Sindh (present-day Pakistan). Looking along the glacier towards the summit of Everest, with an unidentified figure posed among the ice in the foreground.[Photogravure, 254x203mm]. Looking along the jungle-covered river valley. Looking along the moat, with city wall (enclosing the Palace grounds and cantonment of Fort Dufferin) at left. Burmese group posed in foreground. Looking along the nullah. Looking along the river. Looking along the river at an unidentified location. Looking along the river from the Residency garden. Looking along the River Mula, the landing stage in the foreground. Looking along the river valley towards mountains. Looking along the steeply-cut valley. Looking along the street towards one of the city gates. Looking along the walls of the fort. Looking along the wide alluvial valley towards Srinagar. Looking along wall of fort, with tank at left. Looking back down Ridge Road. Looking back from the Taj towards the gateway. Looking down along the Lungna La Pass towards distant mountains. Looking down into river gorge. Looking down on shipping moored at the entrance to the Suez Canal. Looking down on the suspension bridge across the Alaknanda. Looking down onto a pontoon moored at the riverside. Looking down onto a row of buildings. Looking down onto damaged building and surrounding area. Looking down onto lake, collapsed dam in foreground. Looking down onto the bazaar. Looking down onto the cross-roads at the centre of which stand the octagonal stone cistern known as the Gulzar Hauz. Beyond is one of the four arches called the Char Kamans. Looking down onto the dam from a vantage point below the lake. Looking down onto the dome of the Museum, with drydocks in background. Looking down onto the Kuthodaw Pagoda, with the Atumashi Kyaung beyond. Looking down onto the lake, with Durmi Village in left foreground. Looking down onto the river, with the ruins of Srinagar in the foreground. Looking down onto village and suspension bridge. Looking down onto wrecked bridge. Looking eastwards along the lake towards the Willow Bund. Looking eastwards along the ridge. Looking from Simla towards the Himalayas. Looking north along The Strand towards the High Court in the distance, with sailing ships at their moorings along the River Hugli at the left. Looking north-east: Viceregal Lodge on summit of ridge at left, Boileauganj Bazaar below. The Snowy Range in the distance. Looking north over rooftops towards the Hugli, with the Howrah Bridge in the distance. Export and Import Jetties in foreground. Looking out over rooftops across the town towards the bridge over the Machhu River in the distance. Forms a panoramic view with print 63. Looking over jungle-covered hills. Looking over rooftops towards the shikras of the Jagdish Temple. Looking over trellissed walks and rose arbours. Looking south across the Hugli (?from the Howrah Bridge) with steamers and small craft on the river. A rather dark print, with the dome of the Post Office and the tower of the High Court silhouetted on the horizon. Looking south towards the harbour in the distance. Stereoscopic pair. Looking the length of the main square (later gutted by fire during the bombardment of Alexandria in 1882). In the right foreground the 'Hotel D'Europe, patronised by HRH the Prince of Wales'. Looking through trees to mountains beyond. Looking towards a ravine. Looking towards canal works. A later print (1890s) of a Bourne photograph. Looking towards city gateway. Looking towards date palm plantation. Looking towards forested hills and mountains. Looking towards mountains. Duplicate negative, no print. Looking towards temples and ghats along the riverside. Looking towards the bridge. Looking towards the Cauvery River. Looking towards the Duke's Nose, railway line not visible in this view. Looking towards the Himalayas. Looking towards the hospital (not visible), No. 7 bungalow on left. Looking towards the military encampment. Looking towards the railway embankment and the line under construction. Looking towards water reservoir at summit of hill. Looking upriver towards gorge and waterfall. Small snapshot. Looking up-river towards mountains. Looking upstream towards a distant peak. Duplicate negative, no print. Looking upstream towards cascades on river. Looking up towards the walls of the Khas Odi Palace near the southern end of the lake, with pigs being fed on the open land in the foreground. Looking west along the stream. Loose print inserted in album. A good clear view of the entrance to the gorge, known as the Gate of Argawan Shah (see print 8). Louise Marguerite Bridge on the Sind-Pishin Railway, more commonly known as the Chappar Rift bridge. Opened on 27th March 1887 by the Duchess of Connaught. Louis Frederick Liesching, Government Agent, seated in front of a group of massive boulders, a shotgun resting in his lap.[Albumen print, 265x216mm]. Low level aerial view showing boats concealed in mangrove swamp.[Gelatin silver print, 127x122mm]. Man and girl standing in front of village tents. Man and pony on cliffside road. Man crossing river on a sling. Man drawing water from a well with elaborately carved crosspieces. Manikarnika Ghat on the Ganges at Varanasi.. Man on horseback crossing a river. Man ploughing with a team of oxen.[Silver printing-out paper, 103x76mm]. Man praying beside group of idols, mainly naga images beneath a tree, with the tank and the gopura of the Padmanabha Temple at the left. Man swimming in lake. Man up a palmyra palm extracting sap. Man with cart in front of village houses.[Gelatin silver print, 98x78 mm]. Market scene? Market scene. Market scene at Shillong. Original and duplicate negatives only, no print. Market traders with their goods. Markhor hunting party moving along narrow ridge. View from above. Maroon post-bound album, 235x330mm, containing mounted prints with handwritten captions, compiled by Hadden Hamilton Carleston, Indian Civil Service. Pages are interleaved with tissue. The album includes views of Cochin, Sivakasi (Ramnad District), Srivilliputtur, Virudunagar, Madurai, Kodaikanal, Conjeevaram, Ongole (Guntur District).Hadden Hamilton Carleston (b. 1904) entered the Indian Civil Service in 1927 and served as Collector and Magistrate in Madras. Mary Ellis standing on a forest path at on the Kodanaad Tea Estate. Mary Ramsden seated on top of the rock. Mary Ramsden standing in foreground. Masonry bridge of eight spans. Massive boulder perched on a base of ice, with a figure posed to indicate scale. Massive deodar tree in the Wanga Valley. Massive rock in front of the Ganesha Ratha. Members of the Holmes' party on horseback, snowy range in the distance. Men and horses grouped on the pass, (?)pitching camp. Men and pack horses on the road. Men and women washing and gathering water at the edge of the river. Men at work building a small bridge across a stream. Men leading a horse along the water covered road. Merchants with ponies loaded with goods. Middle section of panoramic view formed by prints 77-79. Middle section of three-part panoramic view formed by prints 65-67. Military camp in foreground, with signalling tower on the hillside beyond. Military escort on parade, with baggage caravan in foreground.[Gelatin silver print, 138x77mm]. Minaret and domes of mosque in foreground. Mine buildings, with a railway in the foreground. Kolar Gold Fields (as distinct from Kolar to the north) did not come into existence until 1887, as a result of the exploitation of the rich gold workings in the area. Miscellaneous architectural and landscape views, some aerial. Miscellaneous collection of ten small snapshots of Indian scenes, a number of which show caravans under way, possibly in the Khyber Pass. Prints 34-35 possibly taken in Persia.[Printing-out paper]. Miscellaneous views, including snapshots taken on board an unidentified vessel, professional views of Coronation decorations in Valletta for Edward VII, and snapshots of Naples and Port Said. Miscellaneous views.[Gelatin silver prints]. MISSING. Missionary group posed in foreground. Modern caption, location uncertain. Modern copy print. Modern copy print. Modern copy print. Modern duplicate negative from nitrate negative now destroyed: no print. Miscellaneous views: river scenes, canals, dredger at work, village scenes, landscapes, rock formations. Probably mainly in Krishna District around Bezwada (modern Vijayawada). Modern duplicate negative from nitrate negative now destroyed: no print. River scenes, landscapes, unidentified bungalow. Several good views of a rural ferry. Modern duplicate negative from nitrate negative now destroyed: no print. River scenes, rock formations, portrait of an unidentified European couple, Indian ruins, a good view of a bungalow (594). Modern duplicate negative from nitrate negative now destroyed: no print. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Architectural and general views of rural life, agriculture and landscape. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Boring jig in operation (type unidentified), disused quarry and two spoiled negatives. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Distant views of the railway bridge, local craft on the Ganges, and river steamers moored at the ghat. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General view of bungalow, two portraits of Jardine, Sher Shah Suri's Tomb at Sasaram, views of scenery in the Western Ghats from the train and one good railway station scene. The Jardine portrayed is almost certainly D. Jardine, Murli Hills manager of the Kachwar Lime and Stone Company. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views, including Singapore River, Guthrie & Co. premises, early motor car, beach and country scenes, gateway to the fort at Malacca. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views, landscapes and village scenes. Includes a good view of a rural railway station (Dehri City), and stonemasons at work in a quarry at Dhandar. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views, railway bridge, quarry scenes, portrait of an unidentified European. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views, the majority of the Little House at Arrah and an unidentified grave. There are also several views from and of the New Bengal Club. The view of the building itself is unsharp. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views of bungalow, portraits of an unidentified European, village scenes (market place and pottery), and views of a quarry (?Octavius Steel & Co.) Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views of hydro-electric works, construction views, etc. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views of the bridge under construction. Modern duplicate negatives from nitrate negatives now destroyed: no prints. General views of the hill station, hill and lake scenery, street scenes. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Harbour scenes at Bombay with local craft, views en route to Mount Abu. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Landscapes and rural scenes in Bihar, with European hunting group with elephant. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Landscape views (mainly hill scenery) and portraits of unidentified Europeans in the field. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Mainly landscape views, but with two negatives of excavated artefacts at an unidentified site. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Military encampment (?Calcutta), view of St Paul's Cathedral, Ochterlony Monument, and views at Dehri, showing Son Canal. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Miscellaneous views, including dam at the headworks of the Son Canals at Dehri and P.W.D. bungalows at Dehri. It is not clear precisely which views are of Daltonganj. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Miscellaneous views, portraits of unidentified Europeans and views of the headworks of the Son Canals. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Riverside ghats at Varanasi, with thre architectural views at Lahore. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Shipping in the harbour, waterfront with ramparts, waterfront scenes, University buildings, snake charmer, performing monkey. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views at Abu Road Station, with two views of Udaipur. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views at Katni, mainly of the Katni Cement Works. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views at Lucknow and en route. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views from a ship, with some good example of local craft. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views in Botanical Gardens (including banyan tree), Eden Gardens (Burmese Pagoda), good view of steam shipping moored in the Hugli, and good view of a local boat moored at the water's edge. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views of hill and river scenery in the Shahabad district of Bihar. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views on the Son River with local craft, elephant with mahout, landscapes, view of unidentified factory buildings. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Views on the voyage, Suez Canal, pilot boats, shipboard scenes, Bombay waterfront from the harbour. Modern duplicate negatives from nitrate negatives now destroyed: no prints. Village scenes in Bihar, including good view of a well and a European bungalow. Modern film duplicate negatives of nitrate originals now destroyed. Miscellaneous topographical and architectural views. Negative series W.XIX.1-10. Modern film duplicate negatives of nitrate originals now destroyed. Miscellaneous topographical views, a number probably taken in Kashmir. Modern film duplicate negatives of nitrate originals now destroyed. Miscellaneous topographical views, mainly mountain scenery. Negative series S.S.F.1-12. Modern film duplicate negatives of nitrate originals now destroyed. Modern film duplicate negatives of nitrate originals now destroyed. Topographical views at unidentified locations, probably mainly around Stein's camp at Mohand Marg, north of Srinagar. Negative series S.S.1-12, S.S.1.2, S.S.1.3 and S.S.1-5. Modern film duplicate negatives of nitrate originals now destroyed (a few original negatives and prints preserved). Topographical views at unidentified locations, probably mainly Kashmir. Negative series M.1-M.3.6. Modern girder bridge over the river. Modern print.[Gelatin silver print, 126x79mm]. Modern print from original glass negative. General view with Writers' Buildings (Bengal Secretariat) partly visible in the right background and the Post Office dome in the left background. Premises of Badham Bros. (hosiers) and Phelps & Co. (tailors) in the left foreground on Old Court House Street). The Telegraph Office with its Italianate tower is right of centre. Contemporary print from this negative at Photo 527/1 (89). Modern print from original glass negative. Showing barges and the bows of the steamer Ben of Airlie moored off warehouses at Calcutta. Modern print from original glass negative. Similar to print 51, but more distant. Contemporary print from this negative at Photo 527/1 (109). Modern print from original glass negative. Street scene at Dumraon, taken on the same occasion as print 50. In the foreground a European woman with bicycle, two troopers on camels beyond. Modern print from original glass negative. Modern print from original glass negative. Modern print from original glass negative. Modern print from original glass negative. Modern print from original glass negative. Modern print from original glass negative. View along a straight, tree-lined robe, with an Indian group carrying loads on their heads, posed in the foreground. Modern print from original glass negative. View from the river looking towards the shore, with barges and a steam launch moored in the foreground. Precise location unknown. Modern print from original glass negative. View from the river looking towards the thatched houses of the village, with a wooden jetty running down to the water's edge. Contemporary print from this negative at Photo 527/1 (45). Modern print from original glass negative. View looking along the crowded street towards a gateway, probably to the palace at Dumraon. A photograph taken during the Survey of India party's visit to Dumraon to observe the total eclipse of the sun on 22 January 1898. Contemporary print from this negative at Photo 527/1 (112). Modern print from original glass negative. View looking along the lake in the gardens, with the tower of the High Court visible in the distance. Modern print from original glass negative. View looking north, with the pavilions near the Monohurdass Tank on Chowringhee Road in the foreground. Contemporary print from this negative at Photo 527/1 (11). Modern print from original glass negative. View looking north along the Strand towards the High Court, with four-masted steel barques moored in the river. Contemporary print from this negative at Photo 527/1 (95). Modern print from original glass negative. View looking towards an unidentified memorial, enclosed in a classical pavilion. Modern print from original glass negative. View of people bathing at a ghat on the River Hugli, with the Howrah Bridge in the background.. Contemporary print from this negative at Photo 527/1 (6). Modern print from original glass negative. Villagers trading at a riverside (?fish) stall, with local boats drawn up at the bank. Monbas ploughing with a mithan (buffalo). Monkeys sitting on wall. Small snapshot. More distant view looking down onto the bridge also seen in print 36. More distant view of lamasery at Paro, with fields in foreground. More distant view of mound. (Ancient Persis Map B1). More distant view of the hill and medical College, also seen in print 158. More distant view of the tent, with porch of monastery in background. More distant view of the viceregal weekend retreat at Mashobra, near Simla, the main building largely obscured by trees. A late print (1890s) of a Bourne photograph. Mosque in foreground. Photograph unsigned, but probably by Hammerschmidt. Mosque is on the horizon beyond open scrubland. Most of the station is obsured by foreground trees in this view. Motor car on road, with large group gathered around it. Mountain lake. Mountain lakes. Mountain lake with snowy peaks in the background.[Albumen print, 286x234mm]. Mountain landscape. Precise location unidentified Mountains and hill road. Mountain scene, with a line of porters far below. Mountain scenery, looking along valley towards pass. Innermost Asia, vol. 2, fig. 357: 'Valley above Bostan-arche.' (I.A. Map 2, C3). Mountain scenery, pack animals in foreground. Mountain scenery, the head of the valley. Mountain scenery, views in the Kali Gorge, and at Garbyang and Buddi. Mountain scenery, with (?)village in middle distance. Mountain scenery, with clouds concealing lower slopes. Mountain scenery, with Sind River in foreground. Mountain scenery, with tents in foreground.[Gelatin silver print, 287x211mm]. Mountain scenery, with two Kalmuck hunters in the foreground. Mountain scenery. Blurred snapshot. Mountain scenery. Duplicate negative, no print. Mountain scenery. Enlarged copy at print 192. Mountain scenery. Enlarged copy at print 193. Mountain scenery. Enlarged copy of print 11. Mountain scenery. Enlarged copy of print 16. Mountain scenery. Enlarged copy of print 61. Mountain scenery. Enlarged copy of print 76. Mountain scenery. Faded print, signed 'Phot. H. Senior'. Mountain scenery. Poor quality print. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. Mountain scenery. The location of the village of the caption cannot be identified. Duplicate of Mss Eur F157/481 (10). Mountain scenery. Very faded print. Mountain scenery at Darjiling. Mountain scenery at the eastern end of the Sind Valley. Mountain scenery at the north-eastern end of the Liddar Valley, with Liddar River in the foreground and glaciers in the distance Mountain scenery from the top of the Pass. Mountain scenery in Kachin. Mountain scenery looking through trees. Mountain scenery partially obscured by clouds). Mountain scenery seen from Baltal at the eastern end of the Sind Valley. Mountain scenery Mountain scenery with a camel caravan passing along a road on the left. The picquet is visible at the top of the hill on the right. See notes with Print 1. Mountain scenery with a group in the foreground. Mountain scenery with conifers in foreground. Mountain scenery with huts in the foreground. Mountain scenery with pine trees in the foreground. Mountain scenery with river in the foreground. Mountain scenery with river in the foreground. Mountain scenery with two boys sitting on a wall in the foreground. Mountain seen on the horizon. Mountain snow scene. Mountains scenery. Mountains scenery. Mountains silhouetted against sky. Mountain stream and conifer forest. Mountain track. Mount stamped: 'Copyright Mt. Everest Committee.'[Blue-toned carbon print, 302x423mm]. Mount stamped: 'Copyright Mt. Everest Committee.'[Blue-toned carbon print, 447x302mm]. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 435x332mm]. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 441x300mm]. Mount stamped: 'Copyright Mt. Everest Committee.'[Green-toned carbon print, 315x433mm]. Mount stamped: 'Copyright Mt. Everest Committee.'[Green-toned carbon print, 437x347mm]. Mouth of stream at foot of Kolahoi Glacier. Mr Jackson, (?)British Resident, standing beside cairn. Mrs Sparkes standing in foreground, with tents beyond, three of which are marked with crosses.[73x78mm]. Mrs Storrs-Fox (W.C.I.F.) and 'C.N.' in boat with hunting guides. The figures are distant. Bridge and village in background. Mrs Storrs-Fox (W.C.I.F.) seated at a table near the tent. Mrs Storrs-Fox (W.C.I.F.) seated in front of tent. Mrs Storrs-Fox at edge of lake, camp on farther side. Mrs Storrs-Fox posed among rocks at side of road. Mrs Storrs-Fox posed in foreground. Mrs Storrs-Fox seated beside war memorial in graveyard of Trinity Church. Mrs Storrs-Fox seated in front of tent. Distant view. Mrs Storrs-Fox standing on a bridge over rapids. Much faded print mounted on card numbered '9'. View looks past thatched houses and across the Phalgu river towards the temples (indistinct). Mule caravan ascending the pass. Mule caravan crossing the Deosai Plateau. Mule caravan moving along valley. Murray is standing with a group of Indians on a road overlooking the river.One of six small prints titled 'Views of the Ghauts at Muttra'. Muslim cemetery in foreground, with the Masjid-i-Bala Chaok (Babar Shah's Masjid) beyond (partially obscured). Duplicate at Photo 430/3 (45). Mutha River at Poona? Naga group at riverbank.[Gelatin silver print, 125x82mm]. Near view at Print 53. One of a series of views of Kodaikanal originally numbered 1-7. Contemporary captions were written in a list adjacent to the old no.7, but this has been covered by another print and only some words are visible. Near view of footbridge at Habibulla in Hazara District? Another copy of this photograph can be found at Photo 1143/1 (27). For a note on the photographer attribution, see collection introduction. Near view of mountain lake. Near view of the memorial . Near view of the river with a European man standing on a rock on the right and a bridge above. Near view of walls at the lakeside. NEGATIVE AND PRINT MISSING. Negative marked up for cropping. Duplicate negative, no print. Negative marked up for cropping. Duplicate negative, no print. Negative marked up for cropping. Duplicate negative, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Negative only, no print. Net supported on wooden frame being raised from the water.[Gelatin silver print, 98x78 mm] Newly-made bricks being loaded onto a bullock cart. Night view of the Duryao Mahal, Barwah. Night view of the Juna Rajawada. Night view of the Lal Bagh Palace. Nine prints, general views of Cochin harbour, shipping and local craft. Nine prints, showing scenes in the harbour, including local sailing craft under sail and at their moorings, unloading firewood and sand from boats, grab dredger at work in the canal. Nine prints of Gooty and surrounding countryside. The views show: outer walls of Gooty Fort; the old hill fort and citadel from below; interior and exterior views of the European barracks; general views of surrounding countryside from summit of hill fort. Nineteen snapshots, showing views of the camp, groups posed with dead tigers, duck shoots, portrait of the Minor Chief of Kanker State. With one view of the Sir Montagu Butler, family and ADCs on the steps of Government House, Nagpur at the opening of the Legislative Council in January 1928 (taken on the same occasion as print 86).[Gelatin silver prints, various sizes]. Ninth section of eleven-part panoramic view, comprising prints 173-182a. View towards the town with the dzong beyond. No. 10 in Burke catalogue of Afghan War views. No. 14 in Burke catalogue of Afghan War views. No. 18 in Burke catalogue of Afghan War views. No. 21 in Burke catalogue of Afghan War views. No. 22 in Burke catalogue of Afghan War views. No. 23 in Burke catalogue of Afghan War views. No. 24 in Burke catalogue of Afghan War views. No. 25 in Burke catalogue of Afghan War views. No. 27 in Burke catalogue of Afghan War views, where caption is given as 'View looking up gorge from below Sultan Tarra, showing Ali Musjid and ground occupied by 3rd Brigade during night of 21st November.' No. 28 in Burke catalogue of Afghan War views. No. 31 in Burke catalogue of Afghan War views. No. 32 in Burke catalogue of Afghan War views. No. 37 in Burke catalogue of Afghan War views. No. 38 in Burke catalogue of Afghan War views. Second copy neg at B.7362. No. 3 in Burke catalogue of Afghan War views. No. 45 in Burke catalogue of Afghan War views. No. 50 in Burke catalogue of Afghan War views. No. 59 in Burke catalogue of Afghan War views. Second copy neg at B.7564. No. 64 in Burke catalogue of Afghan War views. No. 65 in Burke catalogue of Afghan War views. No. 67 in Burke catalogue of Afghan War views. No. 74 in Burke catalogue of Afghan War views. No. 78 in Burke catalogue of Afghan War views. No. 96 in Burke catalogue of Afghan War views. No. 986 in the Bourne & Shepherd catalogue, 'Scinde Valley Glaciers'. No. 98 in Burke catalogue of Afghan War views. No 2 in a series of twelve snapshot views. No 3 in a series of twelve snapshot views. No caption traced, but possibly in the Samapu Valley (see print 56). North American view of a river, forest and snowy peaks, probably in Canada. North end of Maota Lake, with the fort on the ridge in the background. Northern Circle (Agra Office) photograph No 5751. Northern Circle (Agra Office) photograph No 5752. Northern Circle (Agra Office) photograph No 5753. Northern Circle (Agra Office) photograph No 5754. Northern end of Chowringhee Road from the Ochterlony Monument. Prints 21-24 form a panoramic view of Chowringhee Road. Note below caption reads: 'From a collodion negative, by Johnson and Henderson'. Print is numbered 'No 6'. The letterpress description provides a brief outline of the cotton trade in Bombay and highlights the principal buildings seen in the print including the offices of the Bombay Gazette. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 1'. The letterpress description outlines the main elements of the view. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 11'. The letterpress description outlines the main elements of the view. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 12'. The letterpress description outlines the main elements of the view. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 13'. The letterpress description outlines the main elements of the view. Note below caption reads: 'Photographed by Johnson and Henderson'. Print is numbered 'No 8'. The letterpress description provides a few remarks on the view. Note next to original caption reads: 'Sheikh Ottuman?'. Note on reverse of print reads: 'View from top of hospital looking towards Gun Rock - you have a photo of G.R. also of Gymnasium which is white building in left middle ground. In left foreground is the station laboratory for the hospital.' Note on reverse of print reads: 'View from top of hospital looking towards Maul Ali. Just at the back of the big rock hill on the left is the rifle range. The mess, not visible, is in the middle of the clump of trees in the rt centre.' Note on reverse reads: 'Entrance to Jawa Kili Tangi, Piazza Camp in distance, completed road, M11 Oct 29th 1923. Same photo as E14. Memorial to Lt Webster RE shown in centre near spot where he was killed'. Note on reverse reads: 'Looking to 3rd bridge'. According to maps of Srinagar the bridge nearest the Shah Hamadan Masjid is called Fateh Kadal. Note on reverse reads: 'Painting by C.M. Villiers Stuart of Pinjore, nr Chandigarh. Photo copyright Susan Jellieve'. This painting is reproduced in colour as Plate XXXII in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. Note on reverse reads: 'Painting by C.M. Villiers Stuart of the Diwan-i-Am, Shalimar Bagh, Kashmir. Photo copyright Susan Jellieve'. This painting is reproduced in colour as Plate XXIII in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. Note on reverse reads: 'Painting by C.M. Villiers Stuart of the old entrance (bottom terrace) of Shalimar Bagh, Lahore. Photo Susan Jellieve'. This painting is reproduced in colour as Plate XXII in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. Note on reverse reads: 'Painting by C.M. Villiers Stuart of the Shahdara, Lahore. Photo Susan Jellieve'. This painting is reproduced in colour as Plate XIX in Constance Villiers-Stuart's book, Gardens of the Great Mughals, London 1913. Note on reverse reads: 'The Citadel ends here, and a narrow space of light can be seen at the edge of the photograph. Unfortunately the camera has been slightly moved in putting in the slide, otherwise the picture would have been better centred. [Signed] AC'. Notes at the side of the print identify: 'Constantia - our happy home, 1857' and 'House where my dear sister & Ed Campbell were married, Oct 24 1853. Where I last saw my father, [?] 27/8, 53'. Notes below the print identify: ''The Park' with gable end of roof showing in Pine Wood, Bishops School [and] west side of Jacko'. Notes below the print identify: 'Elysium Hill, Road leading to Elysium & round Jacko, Shali Peaks, Hill of Mahassoo [and] Hill of Huttoo in distance'. Notes identify: 'New Viceregal Lodge, Post Office [and] Town Hall.' Notes on reverse continue: 'Quite in the dim distance you can trace just an outline of the Snowy Range. The high hill to the right covered in the houses is called Jakkho - and is 8,300 feet above the sea - a road runs[?] right round the hill - 5 miles in circumference & houses are dotted over the greater part of the hill.' Notes on reverse identifies various buildings seen in the view including the Post Office, 'Cutcherry', church, club house, Public Library, Anderson's shop, 'Married quarters of the Club where we have been living', 'Holly Lodge, the estate we want to buy but can't come to terms with owner'. Not positively identified. Number 1 in the Delhi Section of H. Hering's catalogue of Beato views, titled 'Bridge of Boats over the Jumna, taken from Lulim Ghur'.[Albumen print, 307x208mm]. Number trimmed off print, but see duplicate at Photo 222 (7). Oderlies standing in front of Bailey's tent. Duplicate of Mss Eur F157/481 (34). Oderlies standing in front of the tent. Another copy at Mss Eur F157/484 (115). Offerings hanging from the tree, probably in the precincts of the Shwe Dagon Pagoda. Letterpress continues: 'Offering of muslin are suspended from this in honor of Gautama; some even have prayers written on them in the idea that every breeze would waft their petitions to Gautama'. Official propaganda photograph. Note on reverse of print reads: 'Burma Army fights its way back. A view of the Chindwin River near Kalewa where General Alexander's forces cross the river after brushing aside Japanese resistance.' Old stone bridge being demolished. Possibly one of the series of views by Corporal Dukes R.E. of the building of the new bridge.[Lightly albumenised salt print, 271x194mm]. Old stone bridge being demolished in foreground, with part of new bridge visible beyond. Possibly one of the series of views by Corporal Duke R.E. of the building of the new railway bridge.[Lightly albumenised salt print, 280x209mm]. Old stone bridge being demolished with new bridge visible beyond. Possibly one of the series of views by Corporal Dukes R.E. of the building of the new bridge.[Lightly albumenised salt print, 260x193mm]. One half of a panoramic view along the Khyber Pass towards Landi Khana. One of 12 small faded prints titled: 'At Jeypore'. One of 12 small faded prints titled: 'At Jeypore'. One of a series of views of Kodaikanal originally numbered 1-7. Contemporary captions were written in a list adjacent to the old no.7, but this has been covered by another print and only some words are visible. One of a series of views of Kodaikanal originally numbered 1-7. Contemporary captions were written in a list adjacent to the old no.7, but this has been covered by another print and only some words are visible. One of six prints originally stored in an envelope marked 'Bharatpur', although at least one of the prints is from Dig. One of six small prints titled 'Views of the Ghauts at Muttra'. One of the Madras views described in the List of Nicholas and Co's photographic views. One of the Madras views described in the List of Nicholas and Co's photographic views. One of the views described in H. Hering's 'Photographic views and Panoramas taken by Signor Beato': print 37 in the Delhi Series: 'On the Banks of the Canal near the Cabool Gate'. One section of a panoramic view. On the reverse a cross marks 'Evan's house, where I stayed'. On wooded hillside. Open-air market at Mandla. Open-fronted shops in an unidentified town. Open-sided shelter roofed in corrugated iron. Original 12""x10"" glass negative, no print. Clean break across centre of negative. View looking down onto the road clinging to the near vertical rock-face, with a group of travellers posed in the foreground with their laden horses and yaks. Original 12""x10"" glass negative, no print. Clean break across centre of negative. View on the lake looking towards a shikara. Original 12""x10"" glass negative, no print. View along the gorge. Original 12""x10"" glass negative, no print. View looking towards the Khyber Pass, with a large camel caravan on the road. Original and duplicate negative only. No print. Original and duplicate negatives, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original and duplicate negatives only, no print. Original caption has been torn from the mount. Original glass negative, no print. Original glass negative, no print. Original glass negative, no print. Original glass negative (fragile), no print. Original glass negative and modern film duplicate; no print. Central section of three-part panoramic view (with broad overlap), comprising negatives 47-49. See note at 47. Original glass negative and modern film duplicate; no print. Left-hand section of three-part panoramic view (with broad overlap), comprising negatives 47-49 (in fact, the central section of the panorama, is unnecessary, since negatives 47 and 49 cover the whole of the whole area). This negative (T.O.53) is listed twice in Stein's negative notebook no. 11: as part of a panorama of Chakar-aghil (22.5.31) and as part of a panorama of Rakiposhi (14.6.31). The confusion has not been resolved. Original glass negative and modern film duplicate; no print. Left-hand section of two-part panoramic view, comprising negatives 50 and 52. Original glass negative and modern film duplicate; no print. Left-hand section of two-part panoramic view, comprising negatives 51 and 53. Original glass negative and modern film duplicate; no print. Right-hand section of three-part panoramic view (with broad overlap), comprising negatives 47-49. Presumably taken on the same occasion as negatives 47-48, but dated differently. See note at 47. Original glass negative and modern film duplicate; no print. Right-hand section of two-part panoramic view, comprising negatives 50 and 52. Original glass negative and modern film duplicate; no print. Right-hand section of two-part panoramic view, comprising negatives 51 and 53. Original glass negative and modern film duplicate; no print. Very similar view to 53, presumably taken on the same occasion. Original negative and modern copy print at Photo 527/2 (8). Original negative and modern copy print at Photo 527/2 (9). Original �-plate glass negative, no print. Distant view of buildings, with mountains beyond. Barbed wire fence in foreground. Original �-plate glass negative, no print. Similar to 155. Original �-plate glass negative, no print. Similar view to print 72. Original �-plate glass negative, no print. Original �-plate glass negative, no print. Original �-plate glass negative, no print. Original �-plate glass negative, no print. Original �-plate glass negative, no print. Original �-plate glass negative only, no print. Original �-plate glass negative only, no print. Original �-plate glass negative only, no print. View looking across fields towards the madrassa or collegiate mosqure. Original �-plate glass negative only, no print. View looking towards bridge (?Pul-i-Marnun), with water in foreground. Ornamental pool and palm. Other copies at Photo 96/1 (21) and 54 (29). Other copies of this print at Photo 449/1(4) and Photo 197(20). See note at Photo 197(20). Out of focus. Out of focus. Outrigger under sail at Negombo. Oval image. Oval image. Oval print, poor quality. Oval print. General view of the volcano. Duplicate of print 38. Oval print. Oval print. Oval print. Oval print. Oval vignette. Oval vignetted image. Over 150 people died when the hotel, assembly rooms, library and other buildings were destroyed by a mudslide on 18 September 1880. Ox carts in roadway. Pack horses grazing. Pack ponies ascending the mountain. Pack ponies crossing river. Pack ponies on mountain track. Pack ponies on snow-covered mountain. Pack ponies on the track. Pagodas on the sheer hills above the Gyaing. Second copy neg at B.25656. Painted by C.M. Villiers-Stuart in 1911. Palm avenue and footbridge in the park. Palms in the gardens. Panorama has been compiled from three prints, the middle one cropped. Panorama has been torn in two. Panorama in 10 parts with letterpress captions arranged below the relevant subjects from the left: 'Tonnelier Island and Fort. Executive Engineer's Cottage. Works in progress. Long Mountain. Chauss�. Peter Botte Mountain. Coal Dep�t. La Pouce Mountain. Native Town. Signal Mountain. Cemetery. Fort Blanc. HMS 'Punjaub', IN'. Panorama in five parts. Panorama in four parts. Panorama in four parts. Panorama in four parts (the left print is detached). Panorama in three parts, looking over George Town from the Esplanade, with the Free Church of Scotland in the centre and harbour on the right. Panorama in three parts. A note on the reverse reads: 'Nos 4, 5, 6, should be mounted together something as they are now arranged, so as to open out together & shew[sic] the panoramic view they are intended to make. Panorama in three parts. Caption reads: 'Built by Capt G. Williams, RE, No 6 Coy 'QO' Madras, S & M, under Lieut C. Ainslie, RE, assisted by some 200 Civil Artificers and by detachments of the Bengal Sappers Pontoon Section when available'. Panorama in three parts. Poor quality print. Captions below the print identify subjects on the horizon: '[From west to east] Back Bay, Cooperage, Esplanade, Commercial Town or Fort, Dockyard, Apollo Pier and Bay, Coal shed'. Panorama in three parts. Print is signed 'GPS', possibly Government Photozinc Office? Photographs of public projects by this office are in Photo 66/6. Panorama in three parts. Panorama in three parts showing the Brisbane River and town. Panorama in two parts, looking across Back Bay. Panorama in two parts, showing a river scene. Panorama in two parts. A camp is on the right. Negs B.21458-21459. Panorama in two parts.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Panorama in two parts. Nahargarh Fort is identified on the distant hill. Panorama in two parts. Negs B.24478-24479. Panorama in two parts. Negs B.24480-24481. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. Panorama in two parts. The following locations are identified below the print: 'The Lake, Ulwar House, Guru Sikar Range, the Residency, the Barracks, St Xaviour's Church, the Lawrence School [and] Bazar'. This photograph must have been taken earlier than the date on the album as St Xavier's Church is without the tower seen in Print 35. Panorama in two parts. The left side is badly damaged. Panorama in two parts. The right side is badly damaged. Panorama in two parts from a high vantage point. Panorama in two parts looking over the river towards the city. Panorama in two parts of the fort above Kabul. Panorama in two parts that joins to Print 73 on the right side to form a complete view of the island. Print in poor condition. Panorama of snapshots showing mountain scenery. Possibly by P.B. Janson. Panorama of snapshots showing mountain scenery. Panoramic format of the Yenangyaung oilfields.[Printing-out paper, 281x86mm]. Panoramic format of the Yenangyaung oilfields.[Printing-out paper, 294x88mm]. Panoramic format photograph of the Yenangyaung oilfields.[Printing-out paper, 265x83mm]. Panoramic format photograph of the Yenangyaung oilfields.[Printing-out paper, 273x88mm]. Panoramic view, a composite of two prints. Photographer's name is in the bottom right of the print but is hard to decipher: A. Shehnera? Panoramic view, looking along the line towards the workshops. Photograph uncredited, but possibly by Lloyd Jones or Dr Edmund Henderson Hunt.[Silver printing-out paper, 304x88mm]. Panoramic view, taken from the same spot as print 1, but with evidence of construction work on the regulator site in the right foreground.[Printing-out paper, 297x86mm]. Panoramic view, with coconut plantation in the foreground. Panoramic view, with crushing plant marked on skyline.[Silver printing-out paper, 298x86mm]. Panoramic view, with Himalayas beyond. Panoramic view.[Silver printing-out paper, 160x57mm]. Panoramic view.[Silver printing-out paper, 162x46mm]. Panoramic view.[Silver printing-out paper, 167x53mm]. Panoramic view.[Silver printing-out paper, 170x50mm]. Panoramic view.[Silver printing-out paper, 170x57mm]. Panoramic view.[Silver printing-out paper, 172x55mm]. Panoramic view.[Silver printing-out paper, 174x52mm]. Panoramic view.[Silver printing-out paper, 175x53mm]. Panoramic view.[Silver printing-out paper, 175x58mm]. Panoramic view.[Silver printing-out paper, 176x57mm]. Panoramic view.[Silver printing-out paper, 177x53mm]. Panoramic view.[Silver printing-out paper, 178x53mm]. Panoramic view.[Silver printing-out paper, 178x57mm]. Panoramic view.[Silver printing-out paper, 178x58mm]. Panoramic view.[Silver printing-out paper, 180x57mm]. Panoramic view.[Silver printing-out paper, 182x48mm]. Panoramic view.[Silver printing-out paper, 56x160mm]. Panoramic view. A starboard beam view (somewhat distant) of the Sunbeam, a three-masted schooner with auxiliary steam power. Panoramic view. Panoramic view across rolling country. Panoramic view across the Indus Valley towards mountains. Pencilled caption on reverse of print reads: 'Looking across the river towards Balachi and Mushkin Nullahs from near Camp Baralugma.'[Silver printing-out paper, 177x55mm. Panoramic view along platform, with numerous annotations in the negative. These indicate: Old goods shed removed from passenger platform; 'This shed is the only accommodation for 83,000 outward passengers per annum'; station building; 'Tarffic is stacked on this side to the same extent as shown in photo No. 12'; new goods shed; Traffic waiting shipment; Shahabad stone, contarctors' stocks.[Silver printing-out paper, 297x87mm]. Panoramic view along river.[Silver printing-out paper, 180x56mm]. Panoramic view along river valley towards distant mountains.[Silver printing-out paper, 177x58mm]. Panoramic view along the river.[Silver printing-out paper, 156x56mm]. Panoramic view composed of five joined prints, looking towards the bridge (on right), with the mole and backwater bund on the left. With river steamers ('Hilsamari', 'Dhareshwar' and 'Brahmaputra') moored at the bank beside railway rolling stock.[Gelatin silver prints, 1145x174mm]. Panoramic view composed of five joined prints.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Panoramic view composed of five prints, showing railway buildings, with locomotives on the line in the foreground. Buildings are identified, from left to right as drawing office and workshop superintendent's office, iron foundry and pattern shop, turning and brass finishing shop, erecting shop, carpenters' shop, erecting shop, turning shop, fitting shop, tool store and round shed, paint shop. Old Barrack Road at right. Copy negs exist for four of the five sections (lacking neg for left-hand print) as follows: B.12973, B.12971, B.12974, B.12976.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Panoramic view composed of four joined prints, looking across the harbour, with a number of European vessels at anchor. Panoramic view composed of four joined prints, looking across the Jhelum towards the regulator site, with construction work in progress.[Printing-out paper, 724x140mm]. Panoramic view composed of four joined prints. Panoramic view composed of six joined prints, looking towards the Hardinge Bridge on the right, with the mole (centre) and the backwater bund on the left.[Gelatin silver prints, 1409x141mm]. Panoramic view composed of three joined print, with the small Masjid-i-Bala Chauk and the Muslim cemetery in the right foreground. The valley lies to the west of Kabul city. Copy negs for complete panorama are B.9497-9499. Panoramic view composed of three joined prints, looking along the arm towards the harbour entrance at the left, and shipping moored along the waterfront wharf area in the centre. Panoramic view composed of three joined prints, looking along the length of the Hardinge Bridge, with construction of the guide bank under way in the foreground.[Gelatin silver prints, 707x141mm]. Panoramic view composed of three joined prints, looking along the valley.[Silver printing-out paper, 452x106mm]. Panoramic view composed of three joined prints, looking down onto the city of Kabul from the west. Timur's Tomb in centre of print and Bala Hissar in distance. Large torn portions in right-hand sections of print. Copy negs for main part of panorama are B.9505-9506. Panoramic view composed of three joined prints, looking down onto the Sherpur Cantonment, with the village of Bemaru in the left foreground. Large missing portion (largely in sky area) in left-hand section of panorama. Copy negs for complete panorama are B.9494-9496. Panoramic view composed of three joined prints, looking from the east (from Elk Hill?). The lake is in the left hand print, with the head as yet unreclaimed. This view must therefore pre-date the reclamations of 1896-99. Panoramic view composed of three joined prints, looking towards Kabul from Siah Sang. Duplicate at Photo 430/2 (92). Copy negs for complete panorama are B.9500-9502. Panoramic view composed of three joined prints, looking towards Kabul from thre east. British military camp in left foreground. Duplicate at Photo 430/3 (89). Panoramic view composed of three joined prints, looking towards the mountains.[Silver printing-out paper, 223x109mm]. Panoramic view composed of three joined prints, looking towards Tibet from the Kangra La Pass. Copy negs for complete panorama are B.12030-B.12032. Panoramic view composed of three joined prints, showing construction work in progress on the guide bank.[Gelatin silver prints, 670x179mm]. Panoramic view composed of three joined prints, showing construction work on the guide bank in progress. The Hardinge Bridge is largely concealed by the line of railway wagons on the skyline.[Gelatin silver prints, 699x145mm]. Panoramic view composed of three joined prints, with the Hardinge Bridge at the right and the new guide bank under construction on the left. With river steamers and a dredger in the channel in the centre.[Gelatin silver prints, 292x142mm]. Panoramic view composed of three joined prints, with various locations marked, including the Consulate.[325x60mm]. Panoramic view composed of three joined prints. On the left is the Dibang River, with the stockade of pointed wooden posts on the cleared ground overlooking the river. Situated on the Dibang 34 miles north of Sadiya and connected to it by a cart road, Nizamghat was a cold weather outpost of the Assam Rifles. Panoramic view composed of three joined prints. Panoramic view composed of three parts looking along the valley towards mountains. Copy negs for complete panorama are B.12033-B.12035. Panoramic view composed of three prints. View looking towards the river, with railway construction yards in foreground. Panoramic view composed of two joined prints, giving a general view of the bridge, with the mole works in the foreground.[Gelatin silver prints, 452x175mm]. Panoramic view composed of two joined prints, looking across the Afzal Ganj Bridge from the top of the gate tower.[Printing-out paper, 494x184mm]. Panoramic view composed of two joined prints, looking across the camp towards the Safed Koh range in the distance. No. 93 in Burke catalogue of Afghan War views. Whole panorama comprises copy negs B.16293-16294. Panoramic view composed of two joined prints, looking across the cantonments at Quetta.[Albumen prints, 505x196mm]. Panoramic view composed oftwo joined prints, looking across the cantonment towards distant hills. The tape used to join the two prints has caused considerable staining down the centre of the photograph. Panoramic view composed of two joined prints, looking across the Kabul Valley towards the Sherpur Cantonments in the distance. Duplicate of Photo 447/1 (43). Panoramic view composed of two joined prints, looking across the lake. Copy negs for complete panorama are B.11007-B.11008. Panoramic view composed of two joined prints, looking across the lake towards mountains. Panoramic view composed of two joined prints, looking across the lake towards the city wall. Copy negs for complete panorama are B.10942-B.10943. Panoramic view composed of two joined prints, looking across the main town, with military quarters in foreground. Copy neg for right-hand side of panorama is B.16685 Panoramic view composed of two joined prints, looking across the valley towards the mountains beyond. 'Panorama looking south-east and east from the hill behind Sera. In the right-hand foreground is the Trapchi; this includes the Mint, the Arsenal and the biggest barrack in Tibet. From the left-hand bottom corner of the picture the poles can be seen taking the line from the power station in the hills to the city - the eastern extremity of the latter is just visible above the right-hand end of the Trapchi.' (Lhasa Mission Diary, 11 October to 4 November 1936, Appendix II, Explanation of photographs).[Gelatin silver print, 273x102mm]. Panoramic view composed of two joined prints, looking along the riverbank towards the railway bridge over the Dihing River near Margherita at the northern end of the line. Panoramic view composed of two joined prints, looking along the valley towards the projected site of the Khojak Tunnel. Duplicate at Photo 481/1 (57). Panoramic view composed of two joined prints, looking along the walls of the fort with the Bala Hissar Gate in the foreground. Duplicate at Photo 430/2 (58). Panoramic view composed of two joined prints, looking down onto Steamer Point, with coal depot at the right. A similar view to Photo 447/1 (2). Copy neg for right hand side of panorama is B.16683. Panoramic view composed of two joined prints, looking down onto the campsite from a neighbouring hillside. Duplicate at Photo 481/1 (50). Panoramic view composed of two joined prints, looking down onto the railway line, with road through the pass beneath.[583x122mm]. Panoramic view composed of two joined prints, looking eastwards across the city, with the octagonal, domed mausoleum of Timur Shah and the large surrounding garden dominating the right-hand section. Panoramic view composed of two joined prints, looking in a westerly direction along the southern face of Fort Roberts (right-hand print), with the city of Kabul in the distance (left-hand print). The Bala Hissar (citadel) is prominent on the left, with the Sher Darwaza Heights beyond. Another copy at Photo 98 (45). Panoramic view composed of two joined prints, looking north-east across the valley from the Asmai Heights towards the Sherpur Cantonment on the farther side. With a village (Deh-i-Afghan?) in the foreground. Duplicate (in better condition) at Photo 197 (12). Panoramic view composed of two joined prints, looking north-east along the waterfront towards the central area of the town. In the foreground is the main part of Chinatown, with Telok Ayer Street running parallel with the waterfront. The roadstead with ships at anchor is at the right. The octagonal market building can be seen on the far side of Telok Ayer Bay (which was filled in in the course of the decade). Visible in the distance are the official buildings along the Singapore River, with the spire of St Andrew's Church on the skyline. Panoramic view composed of two joined prints, looking north-eastwards from the lower slopes of the Asmai Heights, across open ground towards the Sherpur Cantonment and the Bimaru Heights in the distance. With the fortified village of Deh Afghan in the foreground. The valley lies under a light covering of snow. Panoramic view composed of two joined prints, looking south-east along the Chowgan or maidan towards distant mountains. Panoramic view composed of two joined prints, looking south-east from the Shwe Dagon Pagoda over the cantonment area towards the Signal Pagoda in the distance. Letterpress continues: 'From the upper platform of the great Pagoda, looking S. and S.E. Pussendown [Pazundaung] Creek is in the left distance; the new barracks of H.M. 84th Regiment in the centre, the Signal Pagoda a little beyond it; the road from the Pagoda to the town on the right, part of the roof of the S. stairs of the Pagoda being in continuation'. Panoramic view composed of two joined prints, looking southwards over the Waziribad Lake from Paiminar Kotal towards Kabul. Duplicate at Photo 430/2 (93). Copy negs for complete panorama are B.9503-9504. Panoramic view composed of two joined prints, looking towards Lhasa and the mountains beyond; Kyi Chu river in foreground. 'A panorama of Lhasa taken from the south. In the centre is the Potala. The building on the summit of the left-hand rock is the Medical College. Among the trees to the left of it can be ssen our house - the Deyki Linka. Immediately behind and to the left of this rock is Kundeling, the monastery of our landlords. Just behind this, running right across the left of the picture, is an aqueduct. Notice the many monasteries and nunneries in the mountains. Below, and a little to the right of the white cloud peeping over hills, is Sera Monastery.' (Lhasa Mission Diary, October 18th to November 4th 1936, Appendix II, Explanation of photographs). 'Morgan, Nepean, Dagg and Chapman climbed the hill nearest to our house but on the other side of the Kyi Chu, to collect seeds and take photographs. As this is the nearest hill to Lhasa there is an excellent bird's eye view of the city, Potala, and surrounding monasteries.' (Lhasa Mission Diary, 11 October 1936).[Gelatin silver print, Panoramic view composed of two joined prints, looking towards new entrance, with a lighter discharging rubble in the foreground. Panoramic view composed of two joined prints, looking towards the guide bank, with a dredger at work in the channel.[Gelatin silver prints, 442x176mm]. Panoramic view composed of two joined prints, looking towards the Safed Koh range from Safed Sang. No. 89 in Burke catalogue of Afghan War views. Whole panorama comprises copy negs B.16293-16294. Panoramic view composed of two joined prints, looking westward from the heights of Siah Sung (probably from Fort Roberts), across the plain towards the city, with the Bala Hissar (citadel) on the left. Beyond the city are the Asmai Heights on the right and the Sher Darwaza Heights on the left. Panoramic view composed of two joined prints, looking westwards across the city from the upper part of the citadel, with the Asmai Heights in the background. The Mausoleum of Timur Shah can also be seen in the background, right of centre. Panoramic view composed of two joined prints, showing an unidentified bridge. Possibly photographed by Felice Beato, (?)and possibly Japan rather than China. Panoramic view composed of two joined prints, showing the coal stores at Steamer Point, with houses of the settlement behind. In poor condition: large tear in right-hand section. Panoramic view composed of two joined prints, taken from the Hardinge Bridge and looking towards the completed guide bank.[Gelatin silver prints, 437x145mm]. Panoramic view composed of two joined prints, with camp in foreground. Panoramic view composed of two joined prints, with Fort Roberts at the left and the city of Kabul beyond. Duplicate of Photo 197 (5). Panoramic view composed of two joined prints, with the 'Titan' gantry crane laying a concrete block in the foreground, and the tug Wenlock beyond. Panoramic view composed of two joined prints.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Panoramic view composed of two joined prints. Panoramic view composed of two joined prints. Panoramic view composed of two joined prints. Panoramic view composed of two joined prints. Panoramic view composed of two joined prints. View looking down into the cirque (or ravine). Precise location unidentified. See also prints 26-27. Panoramic view composed of two joined prints (right-hand side somewhat faded) looking along the Narbada River at Mandhata. Ghats and Onkar Temple at left. Copy negs for whole panorama: B.11125-B.11126. Panoramic view composed of two joined prints looking across the town, with part of the military camp in the left foreground. Panoramic view composed of two joined prints looking eastwards down onto the Bala Hissar from the Sher Derwaza Heights behind. With part of the city visible at the left. Duplicate (in better condition) at Photo 197 (45). Panoramic view composed of two joined prints looking eastwards over the city of Kabul from the Asmai Heights. The Bala Hissar can be seen in the distant to the right of centre with Timur's Tomb in the middleground. Duplicate (in better condition) at Photo 197 (27). Panoramic view composed of two joined prints looking southwards from Paiminar Kotal, over the Wazirabad Lake and along the road leading to Kabul some six miles distant. Duplicate at Photo 430/3 (90). Second copy neg at B.7532. Panoramic view composed of two joined prints looking south-west across the harbour and showing shipping moored inside the breakwater completed in 1885. Photograph uncredited, but probably by Scowen & Co. Panoramic view composed of two joined prints looking towards the Bala Hissar from the east. Duplicate of Photo 447/1 (6 & 8). Panoramic view composed of two joined prints of the box girder railway bridge over the Barak River two miles north-east of Badarpur. Panoramic view composed of two joined prints of the Lansdowne Bridge across the Indus, with the island fortress of Bukkur in the background. The photographs show the cantilever bridge dressed with flags and may well have been taken at the opening of the bridge in March 1889. Duplicate at Photo 481/2 (35-6). Panoramic view consisting of five linen-backed prints, somewhat faded. Taken from a similar vantage point to print 36, this view shows the racecourse built on the reclaimed head of the lake. Panoramic view consisting of three joined prints, mounted on linen. The view is taken from the lighthouses looking north, with the centre of the city at the left, and the enclosed harbour with steamers at anchor on the right. Panoramic view from the east, consisting of five joined prints. The Sathbain Tombs can be seen at the right of print 2, Old Sukkur, Sukkur Island and the Lansdowne Bridge in print 3, a view looking north-east along the Indus in print 4, and the town of Rohri in print 5.Measurements (width): print 1 284; print 2 280; print 3 247; print 4 276; print 5 260 Panoramic view from the pass, composed from two joined prints.[Silver printing-out paper, 206x90mm]. Panoramic view in four sections.[Gelatin silver print, 1130x177mm]. Panoramic view in six sections, looking along the Hunza Valley showing terrace cultivation, with Baltit in the left foreground.[Gelatin silver prints, 1095x277mm]. Panoramic view in six sections, looking towards the mountains, with Chini Bagh, the British Consulate-General, in the left foreground. Caption note continues: 'Distance of snows, 60-70 miles. Taken between 7.15 and 8 a.m. in May. (Taken with x4 telephot lens at F32, and a x40 'gradual' filter, on six slow plates. Exposure from 6 to 8 minutes each plate.'[Gelatin silver prints, 1250x200mm.] Panoramic view in three sections.[Gelatin silver print, 858x185mm]. Panoramic view in three sections. A further note in by Skrine in French on the reverse notes that owing to dust blown in from the Taklamakan this distant view of the mountains is rarely seen, perhaps a dozen times a year. In order to obtain these photographs, Skrine used slow fine grain plates with a strong graduated filter which necessitated an exposure of 6-8 minutes for each section.[Gelatin silver prints, 805x185mm]. Panoramic view in two parts. Duplicate at Photo 481/2 (26). Panoramic view in two parts. Panoramic view in two parts. Panoramic view in two parts. Panoramic view in two parts. Panoramic view in two parts. Panoramic view in two parts. Panoramic view in two parts showing the waterfront. Panoramic view looking across the Jhelum towards a large fortified structure, overlooking a bridge across the river. This appears to be on the outskirts of Srinagar, although the building does not match up to J. Needham's lithograph of the palace and fort in the 1850s (see P2440 in Prints & Drawings Collection).[Albumen print, 286x92mm]. Panoramic view looking across the plain towards Skardu, with the Indus in the foreground.[Silver printing-out paper, 178x54mm]. Panoramic view looking across the river towards mountains.[Silver printing-out paper, 177x49mm]. Panoramic view looking along side of bridge, with river running across print. Photograph uncredited, but possibly by Lloyd Jones or Dr Edmund Henderson Hunt.[Silver printing-out paper, 304x89mm]. Panoramic view looking along the Jehlum at Mangla.[Printing-out paper, 301x88mm]. Panoramic view looking along the line, with cleared land on either side. In the middle distance a European is seated on a rail trolley propelled by two Indians. Panoramic view looking along the line towards the lake. The caption note continues: 'The tank is the Hussam Sagar tank about 2� miles by 1� miles, only a small arm of it is seen tha main part is on the other side of the line. The line is laid to take either M. gauge trains (3 ft 3 ins) or B gauge trains (5 ft 6 ins). The English gauge if 4 ft 8� ins.' Photograph uncredited, but possibly by Lloyd Jones or Dr Edmund Henderson Hunt.[Silver printing-out paper, 303x88mm]. Panoramic view looking along the sea wall, with the tidal observatory in the foreground. The club is largely obscured by trees. Panoramic view looking along the valley. There are also on this six small snapshots of groups, golfing scenes and other social activities.[Silver printing-out paper, 292x87mm]. Panoramic view looking along the valley towards the village.[Silver printing-out paper, 292x85mm]. Panoramic view looking down onto bungalow. Panoramic view looking down onto the creek, with a small river steamer rounding the bend. The bend in the river is much exaggerated by the panoramic film format. The terminus of the tram (or narrow-gauge railway) in the left foreground. Panoramic view looking down onto the river at Takaw Ferry. Panoramic view looking over the bowsprit of the Sunbeam towards the harbour entrance. Panoramic view looking seawards, road and houses in foreground. Panoramic view looking towards mess buildings, with Himalayas beyond. Panoramic view looking towards the Himalayas. Panoramic view looking towards the landing stage. Panoramic view looking towards the sea, wireless station in distance. Panoramic view looking towards the sea. Panoramic view of a different part of the camp. Panoramic view of a railway engineer's camp and depot during construction of the Sind-Pishin branch of the North Western State Railway. Piles of sleepers are in the foreground. Negs B.21446-21447. Panoramic view of a tank with the Fort in the distance. Panoramic view of boat basin formed from two joined prints. Panoramic view of Calcutta composed of five small prints. Print 1 (left-hand print) looks north across the Maidan towards Government House, prints 2 and 3 show Esplanade Row and the Dhurrumtollah Tank, prints 4 and 5 look north-east across the northern end of Chowringhee Road (junction with Jaun Bazar Street at right of print 4). Panoramic view of camp formed from two joined prints. Faded print.[Silver printing-out paper, 216x94mm]. Panoramic view of canal works, continued from print 13.[Printing-out paper, 376x274mm]. Panoramic view of crushing plant and access railway line.[Silver printing-out paper, 293x87mm]. Panoramic view of houses on the beach at Mus, situated in the north-east of Car Nicobar, the most northerly of the Nicobar Islands. With three Europeans posed in the foreground. The print shows the characteristic Nicobar houses, with thatched dome roofs raised on piles. Meaning of 'Elpanam' not explained. Panoramic view of mountain scenery.[Silver printing-out paper, 168x58mm]. Panoramic view of mountain scenery.[Silver printing-out paper, 175x47mm]. Panoramic view of mountain scenery.[Silver printing-out paper, 178x58mm]. Panoramic view of mountain scenery.[Silver printing-out paper, 179x57mm]. Panoramic view of mountain scenery composed of four joined prints. Panoramic view of mountain scenery composed of four joined prints. Panoramic view of mountain scenery composed of three joined prints. Panoramic view of mountain scenery composed of two joined prints. Panoramic view of Neyriz, composed of two joined prints. Panoramic view of the camp composed of two joined prints. Panoramic view of the cane suspension bridge, composed of two joined prints. This panorama is formed by linking prints 2 and 3. Panoramic view of the city composed of three joined prints. Some tears in print surface. Copy negs for complete panorama are B.9491-9493. Panoramic view of the city composed of two joined prints, looking in a north-westerly direction from the Upper Bala Hissar. Timur's Tomb can be seen in the distance in the right-hand section. Duplicate (in better condition) at Photo 197 (34). Panoramic view of the city from the Bala Burj. Originally consisting of three parts, left-hand section detached and mislaid. For the complete panorama, see duplicate at Photo 430/2 (91). Copy negs for complete panorama are B.9489-9490. Panoramic view of the city of Kabul composed of three joined prints, looking eastwards from the Bala Burj. Duplicate at Photo 430/3 (85). Second copy neg at B.7563. Panoramic view of the compound, with European figures standing in centre and part of church visible at the left. This is probably the Church of England mission. Panoramic view of the falls composed of two joined prints. Panoramic view of the girder railway bridge, composed of two prints, with river steamers and other craft moored at the bank on the right. A group of men fishing for palla can be seen in the right foreground. Panoramic view of the Kunlun Shan in five sections. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 258).[Gelatin silver prints, 1270x183mm]. Panoramic view of the road running alongside the Kabbani River. Panoramic view of the settlement at Aden, composed of three joined prints (in the poor condition, the right-hand section being very crumpled). The view appears to be incorrectly captioned, Steamer Point being the location seen in print 2. Panoramic view of the station, with sacks of cotton seed piled up in the right foreground.[Silver printing-out paper, 292x87mm]. Panoramic view of the town from the east, composed of three joined prints. In the centre print can be seen the fort and palace hill, with the English Church visible at the south end of the fort enclosure. In the lower lying land in the foreground is the Omkareshvara Temple. The right-hand side of the panorama shows the Indian town of Mahadevapet on the ridge to the north. The left-hand print (now detached) shows scattered houses on land to the south. [Albumen prints, 190x720mm]. Panoramic view of the works composed of three joined prints, showing the ruined workshops immediately after the allied re-occupation.[Gelatin silver prints, 268x57mm]. Panoramic view of town.[Gelatin silver print, 236x52mm]. Panoramic view of waterfall, composed of two joined prints.[Silver printing-out paper, 202x92mm]. Panoramic view of works.[Printing-out paper, 300x86mm]. Panoramic view seawards, with bungalows and other buildings in foreground. Panoramic views of hills. Panoramic view towards mountains.[Silver printing-out paper, 179x45mm]. Panormaic view composed of two joined prints, showing work in progress on the guide bank.[Gelatin silver prints, 476x145mm]. Panormaic view composed of two joined prints. Paoramic view composed of two prints, looking out across a wide valley from an unidentified town. Copy neg for right hand side of panorama is B.16461. Partially excavated funerary pottery, with a large jar at left. Partial view of the Perdeli Kiosk next to the cascades.[Albumen print, 257x199mm]. Part of glacier moraine in foreground, looking up towards mountain peaks. Part of the Royal Lake in the foreground. Party climbing snow-covered path towards the summit of the pass. Party crossing stream at Rudbar, south-west of Firuzabad. Party mounted on yaks climbing hillside, with sheer mountain cliffs in background. With note by Skrine on the reverse, reading: 'Climbing the Kayingning Ture Glen, head of the Kaying Valley. Folded strata (limestone) of the Zumurrat peaks in background. D.F.S. [Doris Forbes Skrine] and Paul Nazaroff [a Russian geologist from Tashkent] on the grass, Hafiz and Kirghiz mergens with yaks.' Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 100). Green-toned print, mounted on card with typescript caption. Duplicate at print 56.[226x309mm]. Party of hikers sitting overlooking a frozen lake. Party on horseback moving through waterlogged land. Passengers and livestock being rowed across the Swat River at Charsadda. Passengers gathered on platform of unidentified station. Passengers waiting to embark on boat. Pastoral scene with sheep and cows grazing near a lake in the foreground. Simla is visible on the skyline at the extreme right of the picture. Stereoscopic pair. Path in the gardens, with Peter Ernest Slack posed beside flight of steps. Path leading through thick vegetation and palm trees in the area immediately south of the Cooum River and west of Triplicane.. Path leading to bungalow among trees in left foreground, with clouds beyond obscuring the mountains on the far side of the (?Sutlej) valley. Pathway through forest. Letterpress continues: 'A beautiful ravine near Kemindine'. The Kemendine district is in the west part of Rangoon. Paved street with houses on either side. Pawayan Steam Tramway Company train crossing the bridge.[Albumen print, signed 'Fry & Rahn. No. 271' in the negative, 283x133mm]. Penciled note on back of print reads: 'The camera is looking nearly straight down and you can see one leg [of the tripod] in the picture. The foot stone (to the left) and the nearest side stone have been laid outwards and when we first did this the whole cavity inside the stone box was filled with earth to the very top. We had to dig out about 90 cubic feet and it took hours to clear the pots, beads, etc.'[Gelatin silver print, 126x93mm]. Pencilled note at side of print: 'Mess in camp. Bliss back to camera.' Major Bliss, seated at a table in the open-sided thatched hut which served as a mess, was the officer commanding the military police during the expedition. An unidentified European stands at the right of the mess. Pencilled note on mount in Temple's hand reads: 'Old photo:- View of Aberdeen Station from Ross Island - This view has greatly changed as regards Aberdeen. Foreground - Ice Factory & Commisariay Buildings. Distance - Aberdeen Station - Atalanta Point - Phoenix Bay Pt. On Atalanta Point there is now springing a very large cellular jail in the style of the British Barracks. At Phoenix Bay there are now large workshops. RCT. 25/5/96.' Pencilled note on mount in Temple's hand reads: 'View of Chatham Island taken some years ago from Haddo Station. Mt Harriett in the distance. This view has much changed owing to the construction of the large sawmills on Chatham. RCT. 25/5/96.' The note also locates the position of 'Command Point, station on Mt Harriett...Hope Town village on slope of Mt Harriett...foreground, Andamans Hospital'. Pencilled note on mount in Temple's hand reads: 'Viper Island - view from the jail, looking over the boat harbour & on to Bakinpur, the old European jail.' The old jail stands on a small hill overlooking the harbour. Pencilled note on reverse of print reads, 'Looking N., from hill � mile N.W. of Mahadeo (looking up the Denwa to Watersmeet (Dhupgarh on L, Monte Rosa [on R?])'. Perhaps one of Baker's views of the Lieut Governor of the Punjab's camps. Peshawar bazaar scene. Photo-etching produced at the Survey of India Department, Calcutta. Photo-etching Photograph by Colin Murray for Bourne and Shepherd. Photograph by R.B. Holmes, hand-coloured by his sister, Gwen Tobin. Photograph by R.B. Holmes, hand-coloured by his sister, Gwen Tobin. Photographed at excavation site. Photographed during the Burma-China Boundary Commission. For a duplicate of this print, see Photo 92/11 (315). Photographer's blind stamp is in the bottom left of the print. Photographer's ink stamp on the reverse of the print is illegible. Photographer's wet stamp on back of print. Photographer uncredited, but probably by Hands.[Silver printing-out paper, 288x214mm]. Photographer uncredited, but probably by Scowen & Co.[Albumen print, 208x272mm]. Photographer unknown though distributed by Central Publicity Bureau. Photographer unknown though distributed by Central Publicity Bureau. Photographer unknown though distributed by Central Publicity Bureau. Photographer unknown though distributed by Central Publicity Bureau. Photographic copy of a map, with route through mountains marked by crosses. Photographic copy of a painting, companion to Photo 235 (1). Photographic copy of a painting, looking across towards the temple on the hill.[Albumen print, oval image, 160x100mm]. Photographic copy of a painting. Photographic copy of a painting. Photographic copy of a painting. Photographic copy of a painting. Photographic copy of a plan of the city drawn from a survey by 'Dafadar Faiz-Talab & a party of the Guides. March, 1880.' Duplicate at Photo 430/3 (23). Second copy neg at B.9299. Photographic copy of a postcard, showing Dagshai in snow. Photographic copy of a skecth, looking along a road towards hills.[Albumen print, 198x140mm]. Photographic copy of a sketch.[Albumen print, 197x140mm]. Photographic copy of a sketch looking along the shore at False Point on the north side of the Mahanadi estuary.[Albumen print, signed 'Stretton 94' in the negative, 206x101mm]. Photographic copy of a sketch of the Kaveri River at the village of Chunchankatte.[Albumen print, 199x141mm]. Photographic copy of the diorama of Bombay Island painted by Montague B. Black in 1932. The aerial view is taken from above the harbour looking approximately north-east across the island, with the docks and city in the foreground and Back Bay beyond. Photograph marked JL 21 (in reverse). Photograph of a map showing road and rail routes in the state. Photograph of an actual flowering bush. Photograph of base of hill, taken from the point where Hunt waited for the leopard to appear. With additional note by Hunt, reading: 'The arrows point to the tied up goatlet. The panther would either come behind the large round boulder, or straight doen past me along the lower arrow.' Poor quality print.[Gelatin silver print, 133x80mm]. Photograph possibly by Herzog & Higgins.[Silver printing-out paper, 144x100mm]. Photograph possibly printed in reverse. Photograph probably by M.V. Portman. Photograph taken at the same time as Print 72, here showing two Europeans standing on the road. Original glass negative (damaged), no print. Photograph taken from a bridge over the gorge. Photograph taken from an almost identical viewpoint to print 11, but earlier by possibly a year or so. With sailing and steamships at anchor (but fewer than in print 11). Photograph taken further down the road seen in Print 10. Photograph tentatively attributed to Beato. Panoramic view composed of three joined prints, looking acros the Ganges towards Sati Chaura Ghat, known to the British after the Mutiny as Massacre Ghat, with part of the bridge of boats visible at the right. Photograph tentatively attributed to Beato. Panoramic view composed of three joined prints, showing the shell-damaged buildings of Wheeler's Entrenchment. Photograph tentatively attributed to Beato. Panoramic view composed of two prints. A more distant view of Wheeler's Entrenchment. Photograph tentatively attributed to Beato.Panoramic view composed of two prints. The view looks towards a row of houses, with a mosque in the left background. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x57mm]. Photograph uncredited, but probably by Scowen & Co. Photograph unsigned, but probably by Nicholas & Co. Photograph unsigned, but probably by Paston. Photogravure. Photogravure Pickers at work on tea bushes growing on hillside. Picket is marked with an X on a distant hill top/. Picnic group in camp beneath trees, probably on the banks of the Jhelum.[Silver printing-out paper, 276x204mm]. Picture spoiled by double-exposure. Pipeline running along sheer hillside. Plate 11 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Plate 12 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Plate 13 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Plate 37 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893).[Albumen print]. Plate 38 of F.O. Oertel, 'Notes of a Tour in Burma in March and April 1892' (Rangoon, 1893).[Albumen print]. Plate 7 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Platinum print. Platinum print. Platoon of soldiers standing to attention in a small, unidentified frontier fort, presumably at Chaman (compare print 23). Duplicate at Photo 481/1 (62). Ponies and porters are seen near the water's edge. Ponies and porters on the pass. Ponies grazing in meadow in foreground, with tents and hills beyond. Green-toned print, mounted on card with typescript caption.[306x205mm]. Ponies negotiating a rubble strewn mountain path. Ponies on snow-covered road. Ponies setting out on the road, with the houses of Taklakot in the background. Pony caravan in the Khyber Pass. Pool at the bottom of the falls. Pool in the foreground with hills beyond. Poor print. From north-west. Poor quality, faded. Poor quality, faded. Poor quality, indistinct view. Poor quality. Poor quality distant view of the palace and city. Poor quality image; view of distant mountains. Poor quality image: indistinct. Left-hand section of two-part panoramic view, continued in print 117. (I.A. Map 45, C1). Poor quality image. Although not part of the panoramic view from the pass (prints 14, 15, 22), and taken from a slightly different view point, this image overlaps with and forms a continuation of print 22. Poor quality image. General view looking over cultivated fields towards village. '...a considerable village which together with Kan-Mehtarzai close by was said to count more than 200 houses...' (p. 80). Poor quality image. Left-hand section of four-part panoramic view comprising (from left to right) prints 330, 333, 329, 332. Poor quality image. Poor quality image. View looking towards wall and orchard. Poor quality image (dark print). Poor quality negative, no print. Poor quality photograph. General view. Poor quality photograph of pit. Poor quality print, dark in sky area. General view looking toward hill: Stein can be distinguished as the tiny figure, centre foreground (but still very distant). Archaeological Reconnaissances, fig. 14: 'Ruined mound on Murti hillock, Gamdhala Valley.' Poor quality print, faded and yellowing. Poor quality print, fading. Distant view of fort. Poor quality print, looking along a river valley, probably taken in the same vicinity as print 37.[Albumen print, signed 'R.H. 110' in the negative, 226x180mm]. Poor quality print, partly out of focus. Similar to print 31, but from a different angle. Neither photograph gives a good rendition of the scultpure. (Ancient Persis Map, A3). Poor quality print, partly out of focus. View looking up towards rock sculptures. (Ancient Persis Map, A3). Poor quality print, slightly unsharp. Poor quality print, subject largely indistinct. Poor quality print, underexposed. Poor quality print, uneven density. Right-hand section of two-part panoramic view, comprising prints 398 and 401. View looking towards scree and rubble on hillside, presumably the result of earthquake activity. 'To the eyes of the non-geologist the formation of the Buruman ridge closing the western end of the lake...seemed to bear a close resemblance to the newly formed barrage which has created the Sarez lake...' (ii, 857). Innermost Asia, vol. 2, fig. 381: 'Range facing Buruman ridge across western edge of Yeshil-kol.' Poor quality print, unsharp. View looking up towards the fort. Poor quality print, very under-exposed. Image largely indistinct. Poor quality print, very under-exposed. Poor quality print, view from an oblique angle and partly out of focus. (Ancient Persis Map, A3). Poor quality print: under-exposed. View towards village, largely indistinct. Mashiz, also known as Bardsir, is 40 south-west of Kerman. Poor quality print. Duplicate (in better condition) at Photo 364/2 (10). Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 37, there captioned 'Rope-bridge at Karmung.' Poor quality print. First (left-hand) section of four-part panoramic view comprising prints 306, 307, 309, 310, showing pass and glacier (at right). (I.A. Map 2, B3). Poor quality print. General view of country. Poor quality print. Group of low huts set among trees in the hamlet of Chah Sardu on the left bank of the Bampur River. Poor quality print. Right-hand section of three-part panoramic view, comprising (left to right), prints 456, 460, 452. Victoria Lake is the modern Lake Zorkul. Poor quality print. Second from left section of four-part panoramic view comprising prints 306, 307, 309, 310, showing pass and glacier (at right). (I.A. Map 2, B3). Poor quality print. Similar to print 431 Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. View along gorge. Poor quality print. View looking across Kurram River to the fortified plateau on the far bank: 'A steep spur projects from it towards the river and forces it to make a sharp westward bend before it finally emerges from the defiles of its middle course into the open alluvial plain at Kurram-garhi. The very end of this spur known as Chunai-warsak falls off with steep cliffs and detritus scarps to the winter channel of the river which washes its foot.' (Archaeological Tour of Waziristan, p. 18). Poor quality print. View looking towards mound, near Khushdil Khan. Poor quality print. View looking towards ridge. Poor quality print. View of lower portion of rock-cut Buddha image. Poor quality print. View towards mountains, with cultivated land in foreground. (Ancient Persis Map B1). Poor quality print (from under-exposed negative). View of site with men at work, with a European group inspecting. The area was being excavated under the supervision of J.O. Oertel. This and the following photographs were probably taken on the occasion of the Director General's visit to the site. Poor quality print depicting a river scene with jungle. Poor quality print showing overgrown ruins. Poor quality snapshot, very faded. Poor quality snapshot.[Silver printing-out paper, 88x89mm]. Poor quality snapshot. Caption note continues: '...mule path can be seen here and there it turns along the base of the big hill and descends to our camp. Note the opium fields below the path. Conical hill has a M.P. picquet and is over 6000 ft high.'[Gelatin silver print, 78x54mm]. Poor quality snapshot. Mountain scenery. Caption note continues: '...G5 to a high range running south from Maklawt village H4 which is just outside the photograph to the left.'[Gelatin silver print, 78x53mm]. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. Poor quality snapshot. View looking onto poppy fields. Caption note continues: 'Heap to left is pile of maize stalks. Just beyond stone hedge is mule path from Hopang to Hohsawn.'[Gelatin silver prints, 79x53mm]. Poor quality snapshot of hills. Poor quality snapshot of open countryside. Poor quality snapshot of station platform.[107x72mm]. Poor quality snapshot of the cow barn in which Zetland spent a night. Poor quality snapshot of waterside with moored river steamer. Poor quality view at the junction of the Euphrates and Tigris at Qurna. Poor quality view of the wells. Poor quality view showing sheep and other animals grazing.[101x42mm]. Port beam view of the Irrawaddy Flotilla Company paddle steamer 'Mandalay' under way.[Printing-out paper, 93x71mm]. Port beam view of the sternwheeler steam launch 'Energy' under way on the river.[Printing-out paper, 97x73mm]. Porters and camels negotiating the rocky pass. Precise location unidentified, probably in Sindh (present-day Pakistan). Porters and pack ponies on the road. Porters at work setting up camp. Porters bring sacks of oranges ashore from a long dugout. Porters carrying baggage across ladders laid over the stony ground. Porters carrying luggage through the rocky pass, European couple in foreground. Precise location unidentified, probably in Sindh (present-day Pakistan). Porters constructing protective fence of brushwood and vegetation. Porters descending the snow field from the top of the pass. Porters erecting a tent. Poor quality print. Porters erecting tents, with baggage in foreground.[Printing-out paper, 125x63mm]. Porters packing up luggage in front of Bailey's house at Chumbi. Portion of print missinhg from bottom right-hand corner. Portrait of a European woman, Lady Ronaldshay (?), standing in a garden. Portrait of Gwen Tobin? Portrait of Holmes and another man standing in the snow covered Pass. Portrait of the touring English cricket team. This print must be from Agra in Feb 1890, as it is the same sitting as Print 23. Port view of the Indian troopship 'Serapis' moored at Calcutta.[Albumen print, 135x96mm]. Portview of the steam launch 'Volo' moored at the bank of the Irrawaddy.[Gelatin silver print, 133x76mm]. Port view of the warship under way.[Gelatin silver print, 98x78 mm]. Posed portrait of two Naga men with spears and shield.[Gelatin silver print, 90x111mm]. Possibly a Baker view. Dera Ghazi Khan? Possibly a Baker view and possibly taken at Dera Ghazi Khan? The jampan ('Jompon' in Hobson-Jobson) is a kind of portable chair carried on four shafts. Possibly a Gill photograph. Possibly a Gill photograph. Possibly a Gill photograph. Possibly a Nicholas & Co print. In the List of Nicholas & Co's photographic views (Madras 1896), there is an Ootacamund view described as: 'Entrance to the Botanical Gardens, from within'. Possibly a Nicholas & Co print. In the List of Nicholas & Co's photographic views (Madras 1896), there is a Palamcottah view described as: 'Bridge over the Tamraparani, connecting Palamcottah with Tinnevelly'. Possibly at Nowshera. Possibly a view on the Mahanadi. Possibly Bourne no. 989: 'Head of Scinde Valley'. Possibly by Arnoux. Possibly by De Brath (see Print 5). Possibly by Gill. Possibly by Gobindram & Oodeyram. Duplicate at Photo 430/36 (29). Possibly by Gobindram & Oodeyram. The print number '134' fits into the series attributed to them elsewhere in the collections. Possibly by Nicholas & Co although other photographers took similar views in the same period. In the Nicholas & Co catalogue the falls at Coonoor are named whereas the caption with this print is non-specific. Possibly by Nicholas & Co although other photographers took similar views in the same period. In the Nicholas & Co catalogue the falls at Coonoor are named whereas the caption with this print is non-specific. Possibly by Nicholas Bros. Possibly by Nicholas Bros. Possibly half a stereograph by Gill. Possibly half a stereograph by Gill. Possibly in the garden of Barnes Court. The child is possibly Bunting Dane. See also print 311, where this child can be seen at the right of the group, and print 134, which supplies the datre. Possibly in the Wa country. Possibly near Porto Novo (Parangipettai). Possibly on the Nam Pawn at Mong Pawn. Possibly photographed by M.V. Portman. Possibly snapshots by P.B. Janson. Possibly the Madras view described as 'No.49 The Surf', in the List of Nicholas and Co's photographic views. Possibly the Yercaud view described as 'No 17 Pagoda Point' in the List of Nicholas and Co's photographic views. Possibly the Yercaud view described as 'No 7 The Lake from Arthur's Seat' in the List of Nicholas and Co's photographic views. Postcard, signed 'R.E.S.', possibly R.E. Shorter. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard. Postcard published by B. Rigold & Bergmann, Bombay. Postcard Postcard Postcard view, looking from Darjeeling towards the Himalayas. Postcard view. Postcard view. Postcard view. Postcard view looking across the bay, with a distant view of the clocktower known as 'Little Ben'. Pot photographed at find-spot. Pottery pieces, photographed with scale at find-spot. (Ancient Persis Map, B3). Pottery pieces and fragments, photographed on the ground with measuring scale. (Ancient Persis Map B1). Precise locatin unidentified. Precise location of bridge unidentified, but probably close to Kabul, where the Logar joins the Kabul River. Duplicate at Photo 430/3 (50). Precise location unidentified, probably in Sindh (present-day Pakistan). Precise location unidentified, probably in Sindh (present-day Pakistan). Precise location unidentified, probably in Sindh (present-day Pakistan). Precise location unidentified. 'In planting avenues along the sides of the public roads we have followed the example of our Muhammedan predecessors when they held the country...' Albumen print, 374 x 258 mm. Precise location unidentified. Duplicate of Photo 1000 (4062). Precise location unknown Precise location unspecified. Terraced cultivation along side of valley. Precise location untraced in Scott's Gazetteer; presumably in the Shan States. Presumably between Panjgur and Hoshab. Presumably on the Tibetan side of the Jelep La. Principal square in the city between the palace and the arsenal. Print 135 shows cattle eating hay. Print captioned '1878'. Print captioned '1883'. Print captioned '1889-94'. Print captioned '1889-94'. Print captioned '1889-94'. Print captioned '1889-94'. Print captioned in the negative. Print captioned in the negative. Print damaged after being stuck to opposite page. Print damaged after being stuck to opposite page. Print damaged after being stuck to opposite page. Printed from a broken glass negative. Duplicate of Photo 1000 (4043). Printed from a broken glass plate. View looking west across the town, with the Palace in the centre overlooking the parade ground. Printed from a cracked negative. Printed version from the slides used by Temple to illustrate a lecture on 'Developments in Buddhist Architecture'. See the list Titles of Slides accompanying this collection. Note on the mount reads: 'Solid brick is really the base of the intended pagoda'. Print has been overpainted in grey. Print has been partly overpainted in grey and white. Print has been re-touched in sky area. Print has been touched-up. Print has been touched up with white highlights. Print in poor condition, with folds and tears and yellowing. Print in poor condition. Print in very poor condition. Print is almost completely faded, but the name 'Kertch' is just visible. Print is both slightly blurred and badly faded. Print is signed '41/F.F.'. Prints 17-18 are signed 'F.J.F.'. Print is signed 'GPS', possibly Government Photozinc Office? Photographs of public projects by this office are in Photo 66/6. Print is signed 'GPS', possibly Government Photozinc Office? Photographs of public projects by this office are in Photo 66/6. Print listed in an accompanying manuscript list of Herzog & Higgins' Nepal views, dated 1901, and written by Miss Edith Ashton. Print listed in an accompanying manuscript list of Herzog & Higgins' Nepal views, dated 1901, and written by Miss Edith Ashton. Print marked 'Dutta' in negative. Print missing from this volume: see copy at BL 1784.a.10. Print missing from this volume: see copy at BL 1784.a.10. Print mounted as Christmas card, inscribed on reverse of mount: 'Mes meilleurs voeux pour Noel at nouvel-an. L. Schweizer.' Print mounted on card numbered '26'. Faded view of Hindu temples. Print numbered '1836' on verso. Caption in square brackets above taken from Bourne and Shepherd catalogue. Print numbered on verso. Print numbered on verso. Print numbered on verso. Print numbered on verso. Print probably made in the 1900s from an earlier photograph (?1880s).[Gelatin silver print, signed 'G.W. Lawrie' in the negative, 285x235mm]. Prints 118-152 Soft-covered album measuring 156x226mm, titled 'Ootacamund & Melukote' in ink on front cover, containing 35 prints, inserted two to a page in aperture mounts measuring 98x73mm. With pencilled captions beneath prints. General views of scenery around the lake at Ootacamund, with a few views of temple architecture at Melkote. Photographs by Constance E. Parsons. Prints 1-3 are at the same location as Bourne's series of photographs depicting rural life in Bengal suggesting a deliberate attempt by Sach� to recreate Bourne's views. Prints 1-52 Soft-covered album measuring 222x172mm, titled 'The White House & Mysore City' in white ink on front cover, containing 52 prints, the majority inserted four to a page in aperture mounts measuring 79x54mm. 12 of the prints are slightly smaller, being inserted on loose pages in aperture mounts measuring 60x35mm. The prints are uncaptioned and include general views of The White House (location unspecified) and of streets and buildings in Mysore. Photographs by Constance E. Parsons. Prints 21 and 22 show the new site for the colony. Prints 429-431 link up to form a panoramic view. Prints 47-48 form a panoramic view of the temples. Prints 53-89 Soft-covered album measuring 222x172mm, titled 'Mysore Zoo' in white ink on front cover, containing 37 prints, inserted four to a page in aperture mounts measuring 79x54mm. General views of animals in the zoo, uncaptioned. Photographs by Constance E. Parsons. Prints 67-69 form a panoramic view of the city. Prints 71-75 are poor quality snapshots of an unidentified official function with cavalry escort, prints 76-103 are views of houses and gardens in India and England. Prints 90-117 Soft-covered album measuring 222x172mm, titled 'Ootacamund' in white ink on front cover, containing 28 prints, inserted four to a page in aperture mounts measuring 79x54mm. General views of scenery around Ootacamund, with some views of houses. Some prints are captioned on the reverse. The album includes one group portrait in which Constance Parsons appears. Photographs by Constance E. Parsons. Print signed: 'Photo H. Senior'. Print signed 'T.W.B.' on reverse. Print signed by photographer. An E. Nicholson is listed in Thacker's Directory as a mining contractor working at the East Indian Railway Company's Kurharbari colliery at Giridih. A railway station was built here linked to the main line at Madhupur. It's possible that this print is a view of Giridih station and that the previous print (Print 65) represents one of the colliery buildings. Print signed on the mount: 'De Brath'. Print unsigned, but probably by 'R.H.'[Albumen print, 178x226mm]. Print unsigned, but probably by Arnoux. Print unsigned, but probably by Baker.[Albumen print, 197x145mm]. Print unsigned, but probably by Baker.[Albumen print, 199x146mm]. Print unsigned, but probably by Felice Beato. Print unsigned, but probably by Skeen & Co. Print unsigned, but probably by Skeen & Co. Print unsigned but probably by Penn. Print unsigned but probably by Penn. Probably a Bourne & Shepherd photograph and probably taken at the same location as print 5, ie near Galle rather than in the hill country near Kandy. Probably a British view. Probably a view at Dowlaiswaram. Probably a view from Humayun's tomb looking back towards the entrance gateway and the various tombs and mosques in the distance. Probably a view of Purana Ghat, 2 miles east of Jaipur on the Agra Road. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably by Lawrie & Co. Probably by Robert Phillips. Distant view of snowy peaks (faded print). Probably by Robert Phillips. General view of the hillside with scattered bungalows and huts forming part of the convalescent depot and cantonment. Probably by Robert Phillips. Near view of water and rocks. Probably by Robert Phillips. Probably by Robert Phillips. Probably by Robert Phillips. Probably by Robert Phillips. Probably by Robert Phillips. Probably by Robert Phillips. Probably by Robert Phillips. Probably by Robert Phillips. Probably by Robert Phillips. View looking down on the bazaar which consists of a group of long sheds and other buildings. Probably by Robert Phillips. View of a forest path. Probably by Robert Phillips. View of a rough road through a forest. Probably by Robert Phillips. View of a small footbridge. Probably by Robert Phillips. View of a small footbridge. Probably by Robert Phillips. View of forest paths. Probably by Robert Phillips. View of shops and houses along a ridge. Probably by W.H. Skeen & Co. Probably in Assam. Probably in NWFP. Probably in the new city of Lashkar. Probably near Mount Lavinia. Probably near Sonamarg. Probably outside Gyantse. Probably part of a panorama of Calcutta. Captions below the print identifying buildings are by Bayley's wife: 'The Home Office where my husband labored for 10 years, 1862 to 1872'. 'Claud Hamilton's House, 63/64'. '31 Chowringhee, our happy house, from Oct/62 to Dec/77'. Probably photographed by a Royal Engineers photographer. Probably photographed by Gobindram & Oodeyram. Probably photographed during the Second Wild Wa Expedition. Probably photographed in the Sagaing Division.[Printing-out paper, 142x109mm]. Probably photographed in the Sagaing Division.[Printing-out paper, 142x109mm]. Probably print No 21 of the Madras views described in the List of Nicholas and Co's photographic views. Probably taken around the same time as print 287b. Probably taken at a Victoria Tea Co estate, Cachar. Probably taken in the same area as print 1. Probably the bridge across the Mekong seen in print 61. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 258, there titled, 'Bridge over the Mekong.' Probably the Yercaud view described as 'No 12, A Fern Dell in Yercaud' in the List of Nicholas and Co's photographic views. Probably the Yercaud view described as 'No 9, Lady's Seat from Valley below' in the List of Nicholas and Co's photographic views. Public Offices in foreground. Public Works Department bungalow, with mountains beyond. R.A. Ellis posed at the side of the Ghaut Road. R.A. Ellis seated beside a path in a shola or wood on the Kodanaad Tea Estate. R.B. Holmes' sister on horseback on Burzil Pass. R.B. Holmes guide on horseback on Burzil Pass. R.B. Holmes walking beside the river. Radha Krishna Temple at left. Rafts at riverbank. Rafts of bamboos being poled down the river. Railway bridge of two spans across an unidentified bridge. Railway bridge over the Indus. Poorish quality print. Railway bridge under construction, possibly near Porto Novo (Parangipettai). Water damage along right hand edge. Print stuck to print 163. Railway line being laid at start of tunnel. Railway line crossing river on masonry piers. Railway line in foreground. Railway locomotive and carriages at an unidentified station. Railway track through forest. Railway wharf at Haydarpasa, with two sailing boats moored alongside.[Albumen print, 325x261mm]. Rangoon Medical Hall in left foreground. Rapids on the Tsangpo below the falls. Remainder of caption supplied from Bourne & Shepherd catalogue. Reproduced as an illustration in John H. Marshall and J. Ph. Vogel, Excavations at Charsada in the Frontier Province (ASI Annual Report 1902-03, Calcutta, 1904, pp. 141-84). Reproduced as an illustration in John H. Marshall and J. Ph. Vogel, Excavations at Charsada in the Frontier Province (ASI Annual Report 1902-03, Calcutta, 1904, pp. 141-84). Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 172, there titled, 'Gorge leading to summit of the Zogi La'. Another copy at Photo 364/1(31) Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 184. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 270. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 298. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 45. Reproduced in Filippo de Filippi, 'Karakoram and Western Himalaya 1909' (London, 1912), facing p. 258, there captioned 'K2, as seen from the east, from the rocks above Camp VI.'[?Matt collodion printing-out paper, 194x245mm]. Reproduced in Henry Cousens, 'The Chalukyan architecture of the Kanarese districts' (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. clv (a), and described p. 143: '...The principal remains are some thirty-five viragals and other inscribed stones. The largest group is at the junction of the main road, from Bhatkal to Honavar, with the branch road running to Murdesvara village. There are, here, twenty stones, in a line, canted over at different angles, one of which has fallen and is broken...' Photograph taken during the Western Circle survey season of 1892-93. Another copy of this print at Photo 1009/1 (1351). Reproduced in Henry Cousens, The Chalukyan architecture of the Kanarese districts (A.S.I., vol. XLII, New Imperial Series, Calcutta, 1926), pl. clv (a), and described p. 143: '...The principal remains are some thirty-five viragals and other inscribed stones.. The largest group is at the junction of the main road, from Bhatkal to Honavar, with the branch road running to Murdesvara village. There are, here, twenty stones, in a line, canted over at different angles, one of which has fallen and is broken...' Reproduced in R.L. Kennion, 'Sport and Life in the Higher Himalaya' (1910), p. 108. Reproduced in R.L. Kennion, 'Sport and Life in the Higher Himalaya' (1910), p. 144. Reproduced in R.L. Kennion, 'Sport and Life in the Higher Himalaya' (1910), p. 162. Reproduced in R.L. Kennion, 'Sport and Life in the Higher Himalaya' (1910), p. 288. Reproduced in R.L. Kennion, 'Sport and Life in the Higher Himalaya' (1910), p. 290. Reproduced in R.L. Kennion, 'Sport and Life in the Higher Himalaya' (1910), p. 292. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 107, there captioned, 'From the Durah Pass (looking east).'[Albumen print, 279x217mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 15. The Mission was at Chitral from 11-18 September 1885 and again from early October to mid-November.[Albumen print, 237x180mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 160, there captioned 'On the Road between Ata-abad and Gulmat.'[Albumen print, 277x218mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 161, there captioned, 'The Pasu Glacier'.[Albumen print, 274x215mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 162, there captioned, 'Camp Gircha (looking south).'[Albumen print, 277x215mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 162, there captioned, 'Gircha (looking north towards the Kilik).'[Albumen print, 278x216mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 163, there captioned, 'Mushkin (looking west).'[Albumen print, 277x215mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 173, there captioned, 'Pandur Lake.'[Albumen print, 272x217mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 173.[Albumen print, 267x204mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 298, there captioned, 'Gorge at Jandrot, below Khalta.'[Albumen print, 279x214mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 307, there captioned, 'Mission Camp at Chitral.' View of the camp looking towards the tent where the Mehtar was received by the Mission: '12th September, Chitral. - Mehtar Aman ul-Mulk visited the British camp at 11 o'clock in the morning. The tents had been carefully dressed, a large tent (specially made for the purpose, to take to pieces) stood at the head of the street, and in front of it a high shamiana. The flag stood in front of that.'[Albumen print, 272x212mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 314, there captioned, 'Crest of the Durah Pass.' '23rd September, camp above Shah Salim. - A start for the Durah Pass was made at 7 a.m., and the crest was reached at 9.45, some of the officers riding the whole way to the top...We...ascended the Durah Pass, and found it wonderfully easy. It is, as Aman-ul-Mulk before told me, the only practicable avenue into his country, and could rapidly be made fit for wheels. No European, unless perhaps a Russian in disguise, has ever visited the pass, McNair having seen it from a long way off only...On the actual crest there was no snow, although it stood in frozen waves in many places on the west declivity [seen in foreground of print].'[Albumen print, 278x216mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 370. For a detailed description of the game as played at Gilgit, see pp. 369-372. Photograph taken either July-August 1885 or between December 1885 and April 1886 (probably the latter).[Albumen print, 278x215mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 384.[Albumen print, 275x208mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 388.[Albumen print, 198x149mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 65, there captioned, 'Danil (from Chitral).' The Mission was at Chitral from 11-18 September 1885 and again from early October to mid-November.[Albumen print, 279x217mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 67'. 'The river at Chitral is, in summer, very deep and rapid, but in winter it becomes fordable. It is crossed by a bridge about half a mile above the fort. The bridge across it is a strongly made single-span timber bridge, on the cantilever principle before described, exactly 41yards long and 5 feet broad, guarded by a stone tower at each end, and further protected by two more towers crowning a precipitous height on the right bank. Laden animals can be taken across it.' The Mission was at Chitral from 11-18 September 1885 and again from early October to mid-November.[Albumen print, 278x216mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 83, there captioned 'From Chalt (looking south).'[Albumen print, 276x218mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 84.[Albumen print, 151x202mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 85, there captioned 'Rakapushi (from Hunza).'[Albumen print, 276x216mm]. Residency buildings on farther bank. Residency courtyard witha dog in the centre, Jabalpur?. Rest house is visible on the right. Riders moving across plain, with mountains on the far side. Riders on path, with river below and to left. Right-hand portion of a panoramic view, joining up with print 64. Right-hand print of panoramic view of Citadel, continued from print 7. Right-hand section of a panoramic view linking up with print 18. Right-hand section of a three-part panorama comprising prints 19-21. Pencilled caption on the reverse identifies the following locations: City Station, Keamori, train, Govt House. Right-hand section of a three-part panoramic view formed by prints 2-4.[Printing-out paper, 151x112mm]. Right-hand section of a two-part panoramic view formed by prints 6-7. This portion looks along the river, with troops camped in the left foreground near the river bank.[Printing-out paper, 151x111mm]. Right-hand section of four-part panoramic view formed by prints 61-64. right-hand section of panorama. Right-hand section of panoramic view, continued from print 1.[Albumen print, numbered '3664(a)' in the negative, 245x210mm]. Right-hand section of panoramic view, continued from print 166. Ta-ling-k'ou does not appear to be marked on Stein's map, but is presumably in the same section as the Pa-no-p'a Valley. (I.A. Map 28, B1). Right-hand section of panoramic view formed by prints 70-71. Right-hand section of panoramic view formed by prints 72-73. Right-hand section of panoramic view formed by prints 75-76. Right-hand section of panoramic view formed by prints 77-79. Right-hand section of panoramic view formed by prints 85-86. Right-hand section of panoramic view formed by prints 87-88. Right-hand section of panoramic view formed by prints 89-90. Right-hand section of panoramic view formed by prints 96-97. Right hand section of panoramic view of the bridge, and duplicate of part of Photo 481/4 (2). Possibly taken at the opening of the bridge in March 1889. This print joins up with print 36. Right-hand section of three-part panoramic view, comprising (left to right) prints 449, 445, 450 (second exposure of middle section), 446. The central and right-hand sections are reproduced as Innermost Asia, vol. 2, fig. 430: 'Panoramic view from Shitam Pass to west (left) and north-west (right). For photograph connecting this view with fig. 429, see Fig. 427 [print 449].' Right-hand section of three-part panoramic view, comprising prints 12-14. View looks towards the river. Meaning of 'T.H.S.' not explained (Triangulated Height Spot?). Right-hand section of three-part panoramic view, comprising prints 330-332. This section shows part of the Shuktri Lingka (park), with the Kyi-Chu River in the distance beyond. Right-hand section of three-part panoramic view, comprising prints 51-53. Right-hand section of three-part panoramic view, comprising prints 9-11. Distant view of stupa and vihara remains. Plate 9 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Right-hand section of three-part panoramic view, continued in prints 11 and 12. Poor quality photograph, dark and indistinct. (I.A. Map A). Right-hand section of three-part panoramic view. looking towards mountain peak. The panorama comprises prints 261-263, with variants of each print at 261a, 262a, 263a. Right-hand section of three-part panoramic view. Right-hand section of three-part panoramic view formed by prints 65-67. Right-hand section of three-part panoramic view from Chini-bagh, the British Consulate at Kashgar. Adjoining sections at prints 296 (left) and 290 (centre). (I.A. Map 2, D2). Right-hand section of three-part panoramic view looking across Alai Valley towards mountains, comprising prints 316, 322 and 325. Right-hand section of two part panorama, comprising prints 216-217. Right-hand section of two-part panorama comprising prints 331 and 334. Right-hand section of two-part panoramic view, comprising negatives 25-26. Duplicate negative from a nitrate original now destroyed: no print. Right-hand section of two-part panoramic view, comprising prints 15-16. Right-hand section of two-part panoramic view, comprising prints 172-173. Right-hand section of two-part panoramic view, comprising prints 179-180. Archaeological Reconnaissances, fig. 45: 'Mound of Kunar-sandal, seen from south-east.' Right-hand section of two-part panoramic view, comprising prints 199-200. Right-hand section of two-part panoramic view, comprising prints 202-203. The view looking across an enclosed cultivated area towards the fort in the distance. Archaeological Reconnaissances, fig. 53: 'Ruined castles of Qal'a-i-Dukhtar, Kerman, seen from near British Consulate.' Right-hand section of two-part panoramic view, comprising prints 211-212. (Ancient Persis Map C3). Right-hand section of two-part panoramic view, comprising prints 213-214. (Ancient Persis Map C3). Right-hand section of two-part panoramic view, comprising prints 217-218. View looking towards shrine. (Ancient Persis Map C3). Right-hand section of two-part panoramic view, comprising prints 252 and 254. (Ancient Persis Map B1). Right-hand section of two-part panoramic view, comprising prints 272-273. Right-hand section of two-part panoramic view, comprising prints 276-277. Right-hand section of two-part panoramic view, comprising prints 294-295. Right-hand section of two-part panoramic view, comprising prints 304-305. Right-hand section of two-part panoramic view, comprising prints 33-34. Right-hand section of two-part panoramic view, comprising prints 341-342. Right-hand section of two-part panoramic view, comprising prints 395 and 403. Innermost Asia, vol. 2, fig. 383: 'View over Yeshil-kol, from Buruman Ridge. Arrow marks mouth of Little Marjanai Valley.' Right-hand section of two-part panoramic view, comprising prints 397 and 402. Genera; view looking down the Langar Pass. Right-hand section of two-part panoramic view, comprising prints 449-450. Right-hand section of two-part panoramic view, comprising prints 461, 462. Right-hand section of two-part panoramic view, comprising prints 495, 491. Right-hand section of two-part panoramic view, comprising prints 67-68. Right-hand section of two-part panoramic view, comprising prints 69-70. (Ancient Persis Map, B3). Right-hand section of two-part panoramic view, comprising prints 7-8. Right-hand section of two-part panoramic view, comprising prints 78-79. Right-hand section of two-part panoramic view, comprising prints 90-91. Right-hand section of two-part panoramic view, comprising prints 97-98. Right-hand section of two-part panoramic view, continued from print 123. Innermost Asia, vol. 1, fig. 150: 'Remains of western wall of circumvallation, L.A. Station.' (I.A. Map 29, D3). Right-hand section of two-part panoramic view, continued from print 183. Innermost Asia, vol. 2, fig. 311: 'Ruined shrines on west side of Toyuk Gorge, seen from ruin Toy. VI. Arrow [to right of centre, in print 184] marks position of main group of shrines, Toy. IV.' (I.A. Map 28, D3). Right-hand section of two-part panoramic view, continued from print 281. Innermost Asia, vol. 1, fig. 48: 'Glacier descending to north-west of Darkot Pass, with its western feeders. Seen from northern moraine at an elevation of circ. 13,500 feet.' Right-hand section of two-part panoramic view, continued from print 4. Dewai Fort can be seen in the distance at the summit of the hill at the left. Plate 10 of Stein's Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905). Right-hand section of two-part panoramic view, continued from print 7. The Indus can be seen at the right of the print. Right-hand section of two-part panoramic view, continued from print 99. Camels drinking from spring in foreground, with reed-beds beyond. (I.A. Map 29, D3). Right-hand section of two-part panoramic view comprising print 97-98. Right-hand section of two-part panoramic view comprising prints 112-113. Right-hand section of two-part panoramic view comprising prints 128-129. Covers approximately the same area as prints 125-127. Right-hand section of two-part panoramic view comprising prints 246-247. Right-hand section of two-part panoramic view looking across the river towards Tse-tang. Panorama comprises prints 197-198. Right-hand side of panorama, a continuation of print 12. Right-hand side of panorama, a continuation of print 14. This half shows the railway line, the river beyond (with cascades), and jungle stretching away into the distance. Right-hand side of panoramic view, continued from print 16. Right-hand side of panoramic view. See also print 52. Right side of a panoramic view. Right side of panorama. Right side of panorama. Right side of panorama. River and forest scene.[Silver printing-out paper, 97x119mm]. River and mountain scenery. River and mountain scenery in the Tien Shan. River and mouth of cave at bottom of gorge. River and small bridge. River and snow scene.[Silver printing-out paper, 97x120mm]. River and snow scene.[Silver printing-out paper, 98x122mm]. River and valley scene, with mountains in the distance. River and valley scene. Rivere scene, a canoe on the left. River in foreground, monastery in distance on far side. River in foreground, with the temple complex of Satrunajaya silhouetted on the skyline in the distance. Several figures are seated in prayer at the riverside.[?Collodion printing-out paper, signed 'M.P.' in the negative, 206x152mm]. River in foreground. River in the foreground, glacier in the distance. River scene, a village through the trees in the distance. River scene, captioned, 'Gerald's Denwa picture, where we have shot pea and wild fowl across the island, 1925 and 1926.'[225x280mm]. River scene, location unidentified.Second copy neg at B.9974. River scene, location unidentified.Second copy neg at B.9982. River scene, location unidentified.Second copy neg at B.9988. River scene, location unidentified. River scene, looking towards a stone footbridge over the stream. River scene, looking towards footbridge.[Silver printing-out paper, 119x96mm]. River scene, precise location unidentified.Second copy neg at B.10034. River scene, precise location unspecified. River scene, unsharp. River scene, with camp in foreground and town beyond. River scene, with cattle being watered in foreground. River scene, with dugout canoes tied up in foreground. River scene, with figures posed on the bank in the foreground. The Garai is the name given to the upper reaches of the Madhumati River in Bengal (now Bangladesh). River scene, with heavily forested hillside running down to water's edge. River scene, with overhanging bamboos. River scene, with platform ferry in foreground. River scene, with pool and (dry) waterfall. River scene, with road high on the right.. River scene, with temple gopura in left foreground.[Gelatin silver print, 98x78 mm]. River scene; a poor quality snapshot. River scene: faded and indistinct print. River scene.[Gelatin silver print, 55x79mm]. River scene. Another copy of this photograph can be found at Photo 1143/1 (10). For a note on the photographer attribution, see collection introduction. River scene. Poor quality print. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. River scene. This is one of a series of views of Pachmarhi preceded by the following annotation: 'Next five pages are pictures of Pachmarhi (CP, India) where APH [Arthur Pearse Howell] was Judicial Commissioner'. River scene. Typescript notes read: 'Very much the same view as (9) [Print 17] but taken a few yards higher up the river'. River scene. Unclear if 'Jhilmilli' is the river or location. River scene below the lake. River scene from the embankment. River scene from the rallway. River scene in a forest. River scene in a forest. River scene in a mountainous landscape. River scene in a valley. River scene in a valley. River scene in a wood? Badly faded print. River scene in a wood. River scene in a wooded landscape. River scene in the Chumbi Valley. River scene in the Sind Valley, looking towards the peak of Sonamarg. River scene in the Sind Valley. Duplicate at Photo 938/3 (60), where the location is identified as Gagangair. River scene in the woods at Coonoor. River scene in valley. River scene looking towards weir. River scene near Nanga Parbat. River scene on the Hugli? River scene on the Nam Pang. River scene on the Nam Teng with tent on bank in foreground. River scene on the Tista. Small snapshot. River scenery. River scenery in the Second Defile south of Bhamo. River scenes at Cuddapah, probably on the Penner River. River scene River scene where ice bridges have melted away. River scene with a boat being punted down river. River scene with a boat in the centre. River scene with a boat in the foreground. River scene with a boat in the foreground. River scene with a boy paddling at the front of the boat. River scene with a church (?) on the opposite bank. River scene with a doonga in the foreground? River scene with a European woman standing on the riverbank. Another copy of this photograph can be found at Photo 1143/1 (20). For a note on the photographer attribution, see collection introduction. River scene with a European woman walking on the riverbank on the left. Another copy of this photograph can be found at Photo 1143/1 (30). River scene with a girder bridge. River scene with a group on the embankment. River scene with a houseboat and a doonga. River scene with a houseboat in the foreground, mountains in the distance. River scene with a large rowing boat with a canopy on board. River scene with a local boat. River scene with a local craft in the foreground. River scene with a sailing boat in the foreground. River scene with a shikara in the foreground. River scene with a small boat (shikara?) in the foreground. River scene with a village. River scene with a village on the opposite bank. River scene with bathers and washerwomen. River scene with boats. River scene with boats and houses. River scene with boats in the foreground. River scene with bridge in the distance. River scene with dak bungalow visible on the right bank. River scene with distant mountains. River scene with doongas? River scene with doongas. River scene with forest. River scene with hills beyond. River scene with houseboats. River scene with houseboats. River scene with houseboats. River scene with houseboats and doongas. River scene with houseboats in the foreground. River scene with houseboats in the foreground. River scene with houseboats in the foreround. River scene with houses in the background and a bridge on the left. River scene with iron footbridge. Two figures in catamaran in foreground. [Albumen print, 275x226mm]. River scene with jungle beyond. River scene with local craft. River scene with local craft. River scene with local craft on the shore. River scene with local sailing craft. River scene with mountain in the distance.. River scene with mountain in the distance. River scene with mountain in the distance. River scene with mountain in the distance. River scene with mountains. River scene with mountains. Typescript notes read: 'Site of first camp not very far along left bank just after you pass the first trees. The Liddar swings round to the right just below the mountain in the background'. River scene with mountains beyond. River scene with mountains beyond. River scene with mountains in the background, near the Kashmir border. Another copy of this photograph can be found at Photo 1143/1 (6). For a note on the photographer attribution, see collection introduction. River scene with mountains in the background. River scene with mountains in the distance. River scene with mountains in the distance. River scene with mountains in the distance. River scene with mountains in the distance. River scene with mountains in the distance. River scene with palms. River scene with palms beyond. River scene with pool. River scene with rock formations in foreground. River scene with rocks reflected in the water. River scene with snowy peak in the distance. River scene with snowy peak in the distance. River scene with terraced fields. River scene with the Dilwara temples in the distance. River scene with the Shah Hamadan Masjid on the right. River scene with trees on either side, bullocks in the distance. River scene with water flowing under a bridge formed by snow. River scene with wooden hut and figure in foreground.[Silver printing-out paper, 103x76mm]. Riverside scene, with European group seated beside the shrine above the water. Riverside scene at Benares. Riverside scene at the ghats. Riverside view of the West River at Wu Chow. Prints 68-71 form a panoramic view of the river front at Wu Chow.[Hand-coloured albumen print, 258x202mm]. Riverside view of the West River at Wu Chow. Prints 68-71 form a panoramic view of the river front at Wu Chow.[Hand-coloured albumen print, 274x204mm]. Riverside view of the West River at Wu Chow. Prints 68-71 form a panoramic view of the river front at Wu Chow.[Hand-coloured albumen print, 278x205mm]. River steamer underway on the Ganges. River valley and mountains. River valley and mountains in the Tien Shan. River view, taken with a panoramic camera. Inscribed on reverse of mount 'With compliments, D.M. Gordon. Keng Tung 1910.'[237x85mm]. River view, with a long canoe in foreground. River view.[Albumen print, inscribed '67 On the Koana' in the negative, 206x155mm]. River view with trees in foreground. Road and sheer cliffs in foreground, conifer forest beyond. A late print (1890s) from a Bourne photograph. Bourne's original negative number (259) has been scratched out and replaced by a new reference. Road ascending through jungle, with steps cut into steeper parts. Road at Wuntho, with a caravan of bullock carts in the foreground. Road beside river. Road bridge across the Narmada. Road leading into the defile. Road leading to summit of wooded hill. Road of uneven and massive boulders, with armed guards posted at side of highway. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 222: 'I suppose the road, which, be it remembered, is the main line of communication across the province from the capital to the frontier of the empire, is the execrable example of a highway which it is possible for the mind of man, with its necessary limitations, to conceive. As a hindrance to traffic it can indeed lay claim to condierable distinction, but this, outside China, would scarcely be voted a desirable recommendation for a road, and as a highway qua highway, it can only be described as a dismal and sorrowful failure. I invariably left it when possible, and took a line across the adjoining hills and fields...' Road on undeveloped land. Road passing through forest. Road precariously positioned on the side of a mountain. Road running alongside river. Road running beside river through mountain pass.[Gelatin silver print, 78x132mm]. Road running into river in foreground, with white chortens on the rocks above. About five miles from Samye. See note at Mss Eur F80/286 (471a). Road running through field of millet. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 336. Road running through Mahim Woods. Road scene. Road scene. Road scene. Road scene. Road scene. Road scene. Road scene. Road scene. Vignette print. Road scene at the ghats. Small faded print. Road scene en route to Simla with tonga ponies being changed. Road scene in a village. Road scene in the valley with mountains in the distance. Road scene in winter. Road scene on a hillside. Road scene with a European man on a bicycle. Road scene with a man carrying goods. Road scene with a rickshaw in the centre. Road scene with a temple in the background. Road scene with a type of palanquin. Road scene with bullock cart. Road scene with bullock carts. Road scene with camels. Road scene with carriages in the foreground and bridge in the distance. Road scene with distant mountains. Road scene with farm labourers at work. Road scene with house sign on the right. Better print at Photo 806/4 (7). Road scene with milepost. Road scene with mountains in the background. Road scene with signpost for 'Ivanhoe' on the right. Road scene with the bungalow on the left, river on the right. Road scene with tongas on the right. Road scene with trees. Roadside food stall. Roadside scene at Rajpura, with dak bungalow at left. Roadside scene with Murray's servants and travelling companion in the foreground, his carriage on the road in the distance. Small faded print. Roadside scene with Murray and another man standing besdie a carriage, servants in attendance. Small faded print. Roadside stall piled high with pots. Duplicate negative, no print. Roadside tea shop.[Gelatin silver print, 110 X 83 mm]. Roadside vendors. Roadside village in Kashmir. Roadside village scene. Print in very poor condition. Original caption (partly torn off) reads 'Mett...of Neilgherry Hills.' Road through the forest. Roadway covered with debris, fallen trees, etc. Roadway lined with flowerpots and trees. Rock formation near Bellary. Rock pillar in the hills near Kotagiri. Rock-strewn landscape looking towards a town and distant river. Possibly taken in Keng Hung at the same period as prints 69-70. Rocky landscape and river. Precise location unidentified. Room I in foreground and remainder of site beyond. Rope bridge across the Jhelum. Ruined fort on a hillside. Ruins in foreground, mountains beyond. Run-off channel.Second copy neg at B.9972. Run-off channel. Rustic scene at a well. Saffron flowers spread out on mats to dry. Sailing boat on a river. Sailing houseboat on the lake. Negative only, no print. Salt print, in poor condition. General view of the ruined buildings. Same artefacts as in print 136, photographed from a different angle. Archaeological Reconnaissances, fig. 41: 'Burial deposit E, at Khurab.' Same bridge as seen in Print 29. Same scene as preceding print, but with bridge washed away. Same subject as print 147. Same view as previous print. Same viewpoint as Print 48 but larger print. Sampans at their moorings, with houses beyond. Letterpress continues: 'This place is near Whampoa - the boats are used for carrying cargo, and are also floating dwellings.' Scene in a bazaar with heaps of coral (?) in the background. Scene in a sugar cane field.[Gelatin silver print, 77x102mm]. Scene of actions on the 18th and 20th October 1897. See sketch map facing p.71 of H.D. Hutchinson, The Campaign in Tirah 1897-1898 (London, 1898). Scene on the bank of the Dibang at the crossing point near Nizamghat, with raft at bank in foreground. Slightly faded print. Scene on the Hugli at Calcutta, with local craft moored near the bank in the foreground and a European steamship beyond. Scene on the Khyber River. Slight damage to print surface in sky area. Scene on the platform, with baggage car being unloaded. Scene on the river bank, with T.R.R.P. seated at left. Scenic view, with conifers in foreground. Scenic view. Scenic view. Scenic view looking over a thatched hut. Scenic view looking towards distant mountain.. Scenic view looking towards distant mountains.. Seated group of monks. Seaward view of the fort. Second copy neg at B.10037. Second copy neg at B.22818. Second copy neg at B.24150. Second copy neg at B.6953. Second from left section of seven-part panoramic view, comprising (right to left): prints 421, 420, 418, 417, 425, 426, 427. Second from right section of four-part panoramic view comprising (from left to right) prints 330, 333, 329, 332. This section is reproduced in Innermost Asia, vol. 2, fig. 363: 'Central portion of Sel-tagh Range, seen from Mazar-bel-bashi above Altun-mazar.' Second section from left of five-part panoramic view, comprising prints 149-153, of mountain scenery. Looking towards Kanchung La. Second section from right of five-part panoramic view, comprising prints 149-153, of mountain scenery. Gyantso Na Lake. Second section of eleven-part panoramic view, comprising prints 173-182a. Second section of four-part panoramic view formed by prints 61-64. Section of four-part panoramic view, comprising, from right to left, prints 314-316, 319. Archaeological Reconnaissances, fig. 73: 'Panoramic view of Shilau Valley, the necropolis of Siraf, looking north from ridge above ruined town.' Section of panoramic view comprising prints 32-35. Section of panoramic view comprising prints 32-35. Section of Samuel Bourne's seven-part panorama. This view looks south-west across the Maidan towards Fort William and the Hugli beyond. See also part 282 (47). See also part 283 (274). See also part 284 (21) and 286 (517). See also Photo 92/4 (50). See also print 27. See also print 308. See also print 48. See also Print 53. See also Print 58. See also Print 64. See also print 76. See also print 88. See also Prints 18 and 75. See also Prints 55 and 75. See note at print 143.[Gelatin silver print, 131x81mm]. See notes at Print 59. See notes with Print 17. See note to print 213. See Photo 430/41 (110) for duplicate. See Photo 430/41 (19) for duplicate with extended caption notes. See Photo 430/41 (3) for duplicate with extended caption notes. A general view, with the public offices in the distance. See Photo 430/41 (7) for duplicate with extended caption notes. View looking across the gardens first laid out by Haidar Ali. The Albert Victor Conservatory visible in the distance. See Print 16 for photographer. See print 443 for another view taken from this location. Sepia toned print. Sepia-toned print. Settlement of circular thatched houses, also seen in print 73. Settlement of circular thatched huts near the beach. Settlement of tents on hillside. Settlement on a hillside above the Yangtze Gorges. Seven postcards of South African scenes (views of Cape Town, East London, and Zulu rickshaw boys at Durban) and four photographs taken at Durban. Of these latter, one is a group of Lady Monro with Mr and Mrs Hall, two show Zulu rickshaw pullers, one shows bathers on the beach.[Silver printing-out paper, various sizes]. Seven postcard views of Simla (including several of Viceregal Lodge), and a snapshot portrait of Margaret Thesiger. Seven prints, landscape views and close-ups of flowers and plants. Seven prints. Seven snapshots: views of the harbour and waterfront at Rangoon and two distant views of the Shwe Dagon Pagoda.[Gelatin silver prints, 104x60mm]. Seventh and final section of seven-part panoramic view, comprising (right to left): prints 421, 420, 418, 417, 425, 426, 427. Seventh section of eleven-part panoramic view, comprising prints 173-182a. View towards Nyang Chu and mountains beyond. Shaded grove in the Eden Gardens. Carte-de-visite sized print. Shalimar Gardens? Shepherds with their sheep.[Gelatin silver print, 135x82mm]. Shepherd with flock and other travellers on the road.[Gelatin silver print, 140x90mm]. Shepherd with his flock, outside Peshawar. Shepherd with his flock. Sherpur Cantonment in foreground. Duplicate of Photo 447/1 (30). Sherpur Cantonment in foreground. Duplicate of Photo 447/1 (35). Shikari looking through binoculars at mountainside. Shipping moored along the riverbank and in mid-stream on the Hugli at Calcutta. The majority are three-masted sailing ships, although the nearest vessel, brig-rigged, also has steam-powered paddle wheels. Shipping passing through the Suez Canal. Shoppers and traders in bazaar. It is unclear whether the location given for print 154 applies to this photograph also.[Printing-out paper, 112x175mm]. Showin European figure and servant at work in garden.[97x77mm]. Showing a bullock cart on a tree-lined road in Sagaing.[Printing-out paper, 73x96mm]. Showing a canoe moving through flood water in a village.[Printing-out paper, 99x72mm]. Showing a car being transported across a river on a ferry made from two boats lashed together with a platform above.[Gelatin silver print, 110 X 83 mm]. Showing a car passing beneath a ceremonial arch bearing the legend, 'Mamraj. Long Live Their Majesties.' Precise location unknown. Showing a devastated area in an unidentified town. Showing a European woman being rowed along the river at the Marble Rocks. Showing a fishing boat beaching. Showing a group of ponies loaded with baggage on the road. Showing a group of porters and pack ponies at the head of the pass. Showing a group of small huts made from leaves and matting in a jungle clearing.[Albumen print, 147x101mm]. Showing a herd of cattle crossing the river at a fording place. Precise location unidentified, but probably in the Sagaing Division.[Albumen print, 120x94mm]. Showing a hois,t driven by a steam engine and seated on two boats lashed together. This is the set-up which can be seen in use in print 89.[Albumen print, captioned in the negative, 265x187mm]. Showing a junk loaded with timber and other goods moored in the West River.[Hand-coloured albumen print, 209x269mm]. Showing a junk under sail in the gorges. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 66, there titled, 'The passenger junk on the Yang-tsze'. Showing a large bamboo raft under way on the Irrawaddy.[Printing-out paper, 98x72mm]. Showing a large laung-zat or paddy boat moored at the bank of the Irrawaddy.[Printing-out paper, 72x97mm]. Showing a laung-zat getting under way on the Irrawaddy, with crew members pushing off from shore with bamboo poles. A faded print.[Printing-out paper, 142x102mm]. Showing a line of blocks laid out along the waterfront.[Gelatin silver print, 206x156mm]. Showing a line of camels coming into camp.[Platinum print, 100x74mm]. Showing a locomotive crossing the bridge, with a tunnel at the far end.[249x152mm]. Showing a locomotive entering a tunnel on the right, with the road through the pass below to the left.[244x149mm]. Showing a long camel caravan proceeding through the snow to Razmak.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 295x214mm]. Showing a paddle steamer pulling away from the quayside at Rumeli Hisari. Similar to print 23.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x201mm]. Showing a paddy boat or laung-zat on the river, with men manning the oars. Showing a partially constructed brick-built pier being sunk.[Albumen print, captioned in the negative, 253x201mm]. Showing a pier being sunk in the river.[Albumen print, captioned in the negative, 264x208mm]. Showing a railway locomotive being offloaded from a river flat onto the shore at Katha.[Printing-out paper, 97x70mm]. Showing a railway trolley descending the sharp incline. The temporary rope worked line was built to give access to the shafts during construction of the Khojak Tunnel, 1888-91. Showing a sampan under sail on the Irrawaddy.[Printing-out paper, 97x68mm]. Showing a series of cascades on the river. Showing a small open boat on the patent slip on the Rangoon River. Letterpress continues: 'In the government dockyard'. Showing a small sailing craft moored on the Yangtze river bank. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 82. Showing a stone embankment with a small steam locomotive on top. The print probably shows part of the Solani Aqueduct on the Ganges Canal at Roorkee. Showing a train on the line, with passengers on board. Showing a traveller being carried in a sedan chair along a jungle path, with thick tropical vegetation rising above.[Silver gelatin print, with portion missing from bottom of print, 179x229mm]. Showing a wooden hoist in use. Showing banks of cumulus, with flowering aloes growing in the foreground. Showing bell foundations under construction. The print is unsigned, but probably by Lloyd.[Albumen print, 272x214mm]. Showing blocks being towed into position.[Gelatin silver print, 201x150mm]. Showing boats drawn up on the riverside. Showing boys in a dugout canoe, with steps behind them flanked by chinthes leading to the water.[Printing-out paper, 130x98mm]. Showing brick piers under construction.[[Albumen print, captioned in the negative, 254x202mm]. Showing bridge piers being sunk, with a dradger at work in background. Similar to print 79.[Albumen print, captioned in the negative, 254x204mm]. Showing bridge piers being sunk.[Albumen print, captioned in the negative, 265x213mm]. Showing Buddha figures and other images in the caves.[Albumen print]. Showing camels and cattle drinking from a pool near the Khyber Pass. Showing characteristic dwellings with curvilinear thatched roofs. Showing Chinese fishing net, supported on a wooden framework, being lowered from the end of a jetty.[Gelatin silver print, 98x78 mm]. Showing collpased suspension bridge. Showing construction work in progress. Print in poor condition.[200x149mm]. Showing construction work on one of the loops of the Darjeeling Hill Railway, probably at Rangtong. Duplicate at Photo 640 (8). Showing construction work on the line at one of the loops on the Darjeeling Hill Railway. Possibly the first loop, south of Rangtong. Showing corner of wall of hill fort in foreground. Showing damaged buildings on riverbank. Showing dense forest at water's edge. Showing devotional carvings on rock-face at entrance to cave. The European figure standing at left is probably Oertel. The photograph is also used as plate 39 of F.O. Oertel, 'Notes on a Tour in Burma in March and April 1892' (Rangoon, 1893).[Albumen print]. Showing diggers on site, with excavated pots in the foreground. Showing Doris Skrine mounted on a yak moving through waist deep snow at the head of the pass, with two porters. Tentative identification.[Gelatin silver print, mounted on card, 278x208mm]. Showing European sailing ships moored at Calcutta. Showing excavation work in progress. Showing excavation work in progress. Showing extensive earthquake damage in foreground. Showing extensive earthquake damage in the city. Showing fissures in ground, with lake beyond. Showing flood water running through a gully in the gardens, with uprooted trees, damaged railings, etc.[Albumen print, 199x264mm]. Showing freight train passing over viaduct, with construction work in background. Precise location unidentified (?Aurangabad). Showing girders being placed in position on site of old stone bridge. Possibly one of the series of views by Corporal Dukes R.E. of the construction of the new bridge.[Lightly albumenised salt print, 287x192mm]. Showing girder span being placed in position on the brick piers, with the temporary pile bridge in the background.[Printing-out paper, blind-stamped 'Lawrie', 289x205mm]. Showing heavy seas striking the breakwater in Colombo harbour. Showing hoist in operation, driven by a steam engine.[Albumen print, captioned in the negative, 253x200mm]. Showing human remains inside the cist tomb also seen in prints 16-18.[Gelatin silver print, 154x107mm]. Showing Indian labourers prising up a large slab of limestone, watched by two officials identified as R.V. Gregory and N.R. Karpur.[Silver printing-out paper, 142x82mm]. Showing interior of partially constructed pier being pumped out with a steam engine.[Albumen print, captioned in the negative, 254x202mm]. Showing Irrawaddy flood water spilling over the embankment.[Gelatin silver print, 98x73mm]. Showing junks under sail on the river. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 58, there titled, 'Argosies of white-sailed junks.' Showing Kashmiris gathering crops from floating gardens in the Dal Lake.[Albumen print, captioned and numbered '3136' in the negative, 197x146mm]. Showing labourers at work in the foundation pit of the regulator.[206x150mm]. Showing labourers at work on the Shetphal Tank irrigation project. Showing labourers clearing the site. Showing labourers constructing the stone cairn, presumably for use as a survey control point. Showing labourers filling the mole with stone.[Gelatin silver print, 236x151mm]. Showing labourers loading stone onto a trolley, with the P.W.D. Library, a small verandahed bungalow, in the right background. Signed in the negative Ross Thompson Lt R.E. 1863. Showing labourers repairing the track. Showing labourers shifting earth on the mole, with two river steamers moored in the right foreground.[Gelatin silver print, 240x147mm]. Showing labouring dragging a junk up-river by ropes. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 68, there titled, 'We are dragged by brute force against the current'. Showing Lisa Bartram posed beside the lake, with mountains beyond.[Gelatin silver print, 175x201mm]. Showing local boats employed in shifting earth. with a river steamer in the background.[Gelatin silver print, 234x183mm]. Showing local boats off Seraglio Point.[Albumen print, 268x208mm]. Showing masonry piers in position, but with girder spans not yet placed. Showing massive boulders at the summit of the hill. The two women also seen in prints 105-106 stand beside the rocks. Showing men at work on timber rafts moored at Pakokku.[Printing-out paper, 93x71mm]. Showing old stone bridge in the course of demolition. Possibly one of the series of views taken by Corporal Dukes R.E. of the building of the new railway bridge.[Lightly albumenised salt print, 283x212mm]. Showing one of Stein's lorries being dragged from the flood bed with the aid of men from Turbat. The incident happened on 11 January, when the lorry became stuck in a small drainage channel and was then thoroughly embedded owing to a heavy downpour. Stein was forced to spend the night here awaiting help from Turbat. The incident is described in Gedrosia, p. 57. See also prints 88-89. Showing pack animals negotiating a path built onto sheer cliffs. Showing part of the mouth of the tunnel, with the Gokteik Viaduct beyond. Showing ponies loaded with baggage fording the river.[144x85mm]. Showing pool and rock face. Small format print. Showing pools, fountains and terraces in the Shalimar Bagh. Showing porters descending the rock face.[Silver printing-out paper, 98x119mm]. Showing porters pitching camp beside a river, with baggage yaks on the right. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 115. Showing raft of inflated goat skins at side of river. Showing rails being offloaded from a river flat.[Printing-out paper, 96x71mm]. Showing road running along side of mountain. Showing Rochester Cathedral, Rochester Castle and swimming baths. Showing sampans at their moorings on the waterfront. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 62, there titled 'Chinese junks at Ichang.' Showing small excavated area at side of field. Showing steam-driven grabs excavating the foundation pit. Print in poor condition.[199x151mm]. Showing Stein's lorry in the Kap marsh of the Perom Basin. Here the surface is of shor, or salt efflorescence. Showing street traders at the roadside, with shops beyond. Showing tents pitched on grassy plateau in foreground, mountains beyond. Showing tents pitched under the pipal tree. The house at the right may be the structure seen in print 34. Possibly photographed during the Burma-China Boundary Commission of 1898-9. Showing terrace cultivation along the side of the valley. Showing terrace cultivation of rice. Poor quality snapshot.[117x73mm]. Showing the backdrop also seen in print 86. This is possibly part of the building marked 'Queen's Palace' in the map in Kiralfy's catalogue of his Empire of India Exhibition of 1895. Showing the confluence of the two rivers to form the Chanab. Showing the effects of a landslide on the road near Kalimpong. Showing the entrance to the tunnel, with part of the Gokteik Viaduct visible beyond. Written on the wall at the mouth of the tunnel is Maung Pe Myook - Laung 9-10-02 God Save the King. Showing the line of the Darjeeling Hill Railway running through forest. Showing the paddle steamer 'Kinkiang' under way in Hong Kong harbour.[Albumen print, 292x212mm]. Showing the post-runners' shelter of Machahoi, with snow covered mountainside beyond. Duplicate (in better condition) at Photo 364/2 (8). Showing the steam launch 'Maud' at her moorings on the Indus. Showing the two men posed on the riverbank with the Berthon boat. Showing the winding path up the steep hillside. Showing the wrecked bridge across the Gandak River. Showing the yak-hide coracle in mid-stream. Small, square format print. Showing two camels with keeper beside a stream.[Platinum print, 100x74mm]. Showing two European figures leaning on a wall talking, with an unidentified building (probably a church) beyond. print in very poor condition. Showing two Indian workers posed in excavated pit beside the cist. Showing two of the four shrines in the fort in the foreground. Showing two Steele Bros. employees, F.D. Stewart and B.T. Petley, standing on a timber raft at the water's edge.[Printing-out paper, 94x71mm]. Showing unidentified creek or river, filled from bank to bank with felled timber.[Gelatin silver print, 132x76mm]. Showing water for irrigation being drawn from the Fuleli Canal by means of a bullock driven Persian wheel. Another copy at Photo 851/2(11). Showing women filling pots at standpipes. Showing workers posed beside the moulds.[Gelatin silver print, 202x150mm]. Showing works under construction.[Gelatin silver print, 222x144mm]. Showing wrecked local craft along the waterfront.[Albumen print, 98x67mm]. Showing wrecked local craft beside jetty.[Albumen print, 143x98mm]. Shwe Dagon Pagoda in the distance. Shwoing a wooden ferry boat crossing the river. Siamese post at Me Hsa Te. See Photo 92/2 (73). Side of dam.[Gelatin silver print, 287x228mm]. Side view. Stereoscopic view. Side view of a Lushai suspension bridge. Side view of aqueduct, a smaller structure than those seen in preceding prints in the series.[Printing-out paper, 293x215mm]. Side view of aqueduct.[Printing-out paper, 300x214mm]. Side view of aqueduct.[Printing-out paper, 303x213mm]. Side view of aqueduct from streambed below.[Printing-out paper, 371x280mm]. Side view of aqueduct from streambed beneath.[Printing-out paper, 364x283mm]. Side view of aqueduct from streambed running beneath.[Printing-out paper, 303x211mm]. Side view of completed bridge, with locomotive on it. Wooden supports are still in place, so load testing is probably seen underway here. Photograph enclosed in Agent's letter 506 of 22 April 1907. Side view of old chain bridge. A very faded print. Side view of one end of the girder bridge, location unknown. Side view of railway bridge under construction. Precise location unidentified (possibly Multan-Amritsar Railway?). Print in poor condition. Side view of station, largely obscured by foreground trees.[Albumen print, 325x260mm]. Side view of the carriage. Side view of the carriage. Side view of the inspection train halted for the night at Kasamudram.[Gelatin silver print, 135x70mm]. Side view of the Mishmi rope suspension bridge also seen in print 39. Side view of the motor lorry, with men standing beyond. See prints 87-88. Sikh troops and camels by the Panjkora river. Silhouetted hills, with mountains in the distance. Silhouette of trees and temple. Simalar to print 49I. Similar, but in vertical format. Similar to Mss Eur F157/481 (78). Similar to Mss Eur F157/481 (8). Similar to Photo 383/1 (9), but taken at an earlier stage of construction. Similar to print 1.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 213x287mm]. Similar to print 1. Archaeological Tour in Waziristan, fig. 2. Similar to print 1. Similar to print 10, but with a larger group of ponies and men in the foreground.[Gelatin silver print, 141x92mm]. Similar to print 10.[Silver printing-out paper, 180x128mm]. Similar to print 10. Joins with print 13 to form a panoramic view. Similar to print 104. Similar to print 104 Similar to print 105. Similar to print 11, but a closer view. Similar to print 11. Joins with print 12 to form a panoramic view. Similar to print 11. Similar to print 114. Similar to print 115. Similar to print 119. Similar to print 12, but taken from an opposing angle. Similar to print 12. Similar to print 12. Similar to print 1223. Similar to print 124. Similar to print 128. Similar to print 130, but with the yaks saddled in this view. Similar to print 132. Similar to print 134. Similar to print 135. Similar to print 136. Similar to print 137, but under-exposed. Similar to print 14. Duplicate at Photo 430/2 (78). Similar to print 140, but slightly more distant. Gedrosia, fig. 23. Similar to print 142. Similar to print 148.[103x76mm]. Similar to print 155. Similar to print 157, but slightly better quality. Similar to print 16. Similar to print 16. Similar to print 16. Similar to print 160, but with trees in foreground. Similar to print 17.[Albumen print, 234x290mm]. Similar to print 17.[Printing-out paper, 98x60mm]. Similar to print 17. Similar to print 1720. Similar to print 1730, but with four workers gathered round the urn. Similar to print 1730. Similar to print 18, but a closer view. Similar to print 18. Similar to print 18. Similar to print 18. Similar to print 182. Print 182 is the better photograph. Similar to print 19. Similar to print 202. Similar to print 21. Similar to print 21. Similar to print 212, but a slightly closer view. Similar to print 217. Similar to print 223, but faded. Similar to print 227. Similar to print 227. Similar to print 230, also very faded. Similar to print 236. Similar to print 24, but a slightly closer view. Similar to print 24, but in vertical rather than horizontal format. Similar to print 24. Similar to print 261. Similar to print 262a. Similar to print 263a. Similar to print 27, but a clearer view of the mountain. Similar to print 27, but a closer view.[Gelatin silver print, 139x82mm]. Similar to print 27.[Gelatin silver print, 141x92mm]. Similar to print 2775, but a poorer quality print. Similar to print 2789. Similar to print 27a. Similar to print 28.[Gelatin silver print, 131x80mm]. Similar to print 28. Similar to print 28. Similar to print 29a, but with mule transport cropped out of picture. Similar to print 3, but a stern quarter view of the steam launch.[Printing-out paper, 97x73mm]. Similar to print 3, but in landscape format. Faded print.[108x79mm]. Similar to print 3, with the position of Peti Dzong indicated by an arrow. Similar to print 3. Similar to print 30. Poor quality print. Similar to print 30. Similar to print 30. Similar to print 300, but in slightly better condition. Similar to print 309, but looking more to the right. Similar to print 31.[Prinitng-out paper, 140x83mm]. Similar to print 316. Similar to print 31a. Similar to print 32, but in landscape format. Similar to print 32, but without cloud obscuring the hills. Caption note continues, 'Kohat city lies at the foot of the hills. The ground in front is the R.A.F. Drome. The skyline of the hillss looks like a women [sic] lying down, hence known as the Old Lady of Kohat'. Similar to print 320: baggage being unloaded from mules. (Ancient Persis Map A2). Similar to print 325. Similar to print 338. Similar to print 34. Similar to print 346 Similar to print 355, but a slightly poorer quality image. Similar to print 378. Similar to print 37a. Similar to print 385. Similar to print 388, but a closer view of the mountain. Similar to print 388, but listed as over-exposed. Similar to print 38 Similar to print 39.[Printing-out paper, 102x152mm]. Similar to print 399, but in vertical format. Similar to print 4, but a closer view of construction work. Similar to print 4.[Albumen print, 256x201mm]. Similar to print 4. Similar to print 40, with camp in foreground. Similar to print 40. Duplicate (in better condition) at Photo 364/2 (14). Similar to print 41. Similar to print 41 Similar to print 43. Similar to print 43. Similar to print 437, but a closer view of the camels. Similar to print 439. Similar to print 44.[Printing-out paper, 285x161mm]. Similar to print 45, but from a slightly lower viewpoint. Similar to print 46, taken from the opposite angle at an earlier stage. Similar to print 467, but with Samad. Similar to print 469, but with Stein's dog Dash included. Similar to print 47, but in better condition. One of the figures, P.J. Large, is identified on the mount.[Albumen print, signed 'R.H. 106' in the negative, 179x225mm]. Similar to print 471. Similar to print 48. (I.A. Map 3, C1). Similar to print 48. Similar to print 482. Similar to print 487a. Similar to print 48a, also under-exposed. Similar to print 49, but with many of the hill covered in cloud. Similar to print 499, but giving a closer view of the mountains. Similar to print 5. Similar to print 507, but taken a few moments later. Similar to print 51, but with addition of pot on right. Ancient Persis, fig. 10: 'Funerary deposit excavated on south-west slope of mound, Tal-i-Zohak.' (Ancient Persis Map, B3). Similar to print 512. Similar to print 52. Similar to print 525a, but with fewer mules. Similar to print 53.[101x77mm]. Similar to print 53. Similar to print 54.[Silver printing-out paper, 101x76mm]. Similar to print 56.[Silver printing-out paper, 100x76mm]. Similar to print 56. Similar to print 58.[Albumen print, 148x98mm]. Similar to print 6, but a closer view of riders. Similar to print 6. Similar to print 62, slightly more distant. Similar to print 62. Similar to print 63. Similar to print 63. Similar to print 65, but a clearer view. Similar to print 65. Similar to print 66. Similar to print 67. Similar to print 67. Similar to print 673. Similar to print 69. Similar to print 7.[288x244mm]. Similar to print 72, but looking along the north pier. Similar to print 74, but poorer quality. (Ancient Persis Map, B3). Similar to print 74. Similar to print 76, but a slightly more distant view of the grave cairns. Similar to print 76.[Gelatin silver print, 78x98 mm]. Similar to print 77, but a slightly more distant starboard quarter view of the Namur at the quayside, with the harbour beyond. The whole of the vessel is seen in this view. Similar to print 77. Duplicate at Photo 430/3 (15). Similar to print 779, with elephants in foreground. Similar to print 79.[Gelatin silver print, 201x145mm]. Similar to print 8.[Printing-out paper, 141x82mm]. Similar to print 8. Similar to print 80. Similar to print 83. Similar to print 88. Similar to print 98. Similar to prints 1-5.[Albumen print, 99x73mm]. Similar to prints 155-156, with measuring scale in a different position. Similar to prints 17-18.[Albumen print, 294x237mm]. Similar to prints 2-3, but with bullock carts in foreground.[Albumen print, 98x74mm]. Similar to prints 700-701, taken a few moments later. Similar view at print 24. Similar viewpoint to print 4, probably taken at an earlier date since there are fewer signs of percolation through the dam. Similar viewpoint to print 449. Similar views in Photo 2/2. Similar view to, but in better condition than print 4. In the foreground is a garden in European style, with a group of Burmese gathered at the gateway. Similar view to Photo 92/3 (4, 6). Similar view to print 1, looking from the Bosphorus towards Findikli, with the German Embassy on the skyline. View of the Molla Celebi Mosque, on the shore.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x202mm]. Similar view to print 1. Similar view to print 135, looking towards wooded hills, with horses grazing in the paddy fields in the foreground. Similar view to print 14 Similar view to print 1718. Similar view to print 2, but with a paddle steamer in mid-stream on the Bosphorus.[Albumen print, 325x260mm]. Similar view to print 3, but looking more to the north. Similar view to print 30, but a much darker print. See note on dating at print 30.[Albumen print, 178x114mm]. Similar view to print 36, but a larger print. Similar view to Print 39. Similar view to print 4, looking across the Golden Horn towards the Aynalikavak Palace, but taken with a longer lens and giving a closer view of the Palace.[Albumen print, 321x260mm]. Similar view to print 40, looking up the Anzong Valley from the camp at Tsahuden, but in vertical format. Cooking area with Union flag on flagstaff in foreground. Similar view to print 40. Similar view to print 41. Similar view to print 49 Similar view to print 52, but in portrait rather than landscape format. Similar view to print 57. Similar view to print 967, but in a smaller format. Similar view to prints 68-9. Similer to print 16, but taken from closer to the tunnal. Simla in winter. Simla in winter. Sind River view looking towards mountains beyond. Poor quality print. Single-girder bridge over a small river, location unknown. Single span girder bridge across the stream. Sir Robert Highet, G. Peddie, Cyril Lloyd Jones, and G. Richards (Chief Engineer, Indian Government Railway Board) inspecting the quarry.[Gelatin silver print, 134x79mm]. Sitabaldi is a suburb of Nagpur. Site of an archaeological dig. Six coloured and six sepia postcard views of Bombay. Six prints, views of lake, dam and overflow from various viewpoints. Six prints: three views looking along the Jhelum towards the Shah Hamadan Masjid, one of a man fishing with a spear on the Dal Lake, one of a boat on Wular Lake, one general view of Gulmarg.[Silver printing-out paper, various sizes]. Six prints. Six prints of hill scenery. Six prints Six reproductions (?collotype) of buildings and scenes in Dar Es Salaam from 'Deutsch-Ost-Afrika Serie III', one postcard and nine snapshots of harbour scenes, including sunk or scuttled shipping and a view of General Smuts' headquarters. Six small snapshots of winter scenes at an unidentified location (?possibly Kabul).[Gelatin silver prints, 41x54mm]. Six snapshots showing flood damage.[Printing-out paper, various sizes]. Six snapshots showing the completed works.[Gelatin silver prints, 98x73mm]. Sixteen prints. Sixth from left section of seven-part panoramic view, comprising (right to left): prints 421, 420, 418, 417, 425, 426, 427. Six views of flooded streets.[Gelatin silver prints]. Size 480 (w) x 370 (h) mm. Size 485 (w) x 381 (h) mm. Slightly blurred. Slightly blurred print. Slightly blurred print. Slightly blurred snapshot. Slightly blurred snapshot. Slightly blurred view in the town. Slightly distant view, looking along the river bank towards a moored paddlesteamer, with a local Burmese craft in front.[Albumen print, 116x78mm]. Slightly distant view, printed from a cracked negative. Slightly distant view of a game in progress, with the Potala in the background. Slightly distant view of boat in mid-stream. Slightly distant view of diggers at work, with fort byond. Archaeological Reconnaissances, fig. 32: 'Digging at prehistoric burial site below fort of Damin.' Slightly distant view of fort, surrounding houses and perimeter wall. Slightly distant view of ghat and temple. Slightly distant view of Hinchcliffe standing on a timber raft moored at the riverbank.[102x78mm]. Slightly distant view of pitched tents, with mountains beyond. Precise location unidentified, probably in Sindh (present-day Pakistan). Slightly distant view of the Gold Mohur and another houseboat at their moorings. Slightly distant view of the houses of the bazaar area of the town. Slightly distant view of the Potala from the west. 'Some of us went for a ride in the evening round the Potala, whose southern aspect is indeed magnificent and impressive.' (Lhasa Mission Diary, 25 August 1936).[Gelatin silver print, 142x92mm]. Slightly distant view of vessels at work at harbour entrance. Slightly distant view of water emerging from sluice.[Albumen print, 151x203mm]. Slightly distant view of wildfowl on tributary of the Tsang-po. Slightly distant view towards houses of Panjgur, set among palm trees. Slightly more distant side view of the bridge. Slightly more distant view of the group seen in print 171. Slightly unsharp. Slightly unsharp. Slightly unsharp. Slightly unsharp. View of rocky hillside from train. Slightly unsharp view looking down onto the course of the Swat River. The Monda Canal Works (also seen in prints 131 and 141) are in the middleground. See note on location at print 142. Slightly unsharp view of car on road.[Printing-out paper, 142x83mm]. Small, poor quality snapshot. Small, squaer format print. Small, square format print. Small, square format print. Small (70x42mm) vignetted frontispiece illustration. Small caravan of mules on a road beside a lake. Small faded print. Duplicate of Print 191. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small faded print. Small format print, poor quality. Small format print; poor quality, some vignetting at top of image. Small format print; poor quality, some vignetting at top of image. Small format print. General view of mound: 'In four or five places were found great heaps of ash and potsherds with fragments of charcoal. Photograph No. 1522 is one of these. They would appear to be places where the Hindu dead were cremated' (Progress Report of the Archaeological Survey of Western India, for the year ending 30th June 1897, p. 18). Small format print. Small format print. Small format print. These are presumably mounds gathered together by local villagers to transport to their own fields. Cousens complains about the practice in his report (pp. 18-19) suggesting that the work should be contracted out: this, he argued, would allow the authorities to control the work and prevent damage to the remains, as well as removing the surface earth and allowing archaeologists access to the ruins of the older city beneath. Small format view, with vignetting along top corners. Small group of mules crossing river. Small group of tombs in overhanging niche on hillside, with two shepherds posed in foreground.[Gelatin silver print, 165x217mm]. Small group of wooden houses. Small group of yaks about to enter water. Faded print. Small Hindu temple, with a pair of palms in the foreground. Small local craft moored at a ghat. Small oval print, poor quality. Small poor quality print. Small print. Similar to Impey's view at Photo 1000 (2140a). Small print. Small print. Small print showing a Bengal (?) village scene. Small rowing boat at water's edge, with British soldier standing on bank. Small sampan-type boat being rowed across the river [?Mekong]. Caption in Grose's notebook reads 'Boat with French on board, Hsop Hok'. Small snapshot, poor quality, fading. Small snapshot. Distant view of the Taj Mahal from the fort. Small snapshot. Distant view of troops on parade. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot looking across the plain. Small snapshot of a large group of elephants with their mahouts, probably taken on the same occasion as print 60.[Gelatin silver print, 89x38mm]. Small snapshot view looking towards mountains. Small snapshot view looking towards the dzong. Small waterfalls at Cherrapunji. Small wooden bridge over a stream Small wooden ferry boat being rowed across the river.[Silver printing-out paper, 121x95mm]. Smoke rising, presumably from a burning village, from the valley floor. Snapshot, location unknown. Snapshot, looking along platform. Snapshot, poor quality and faded. Snapshot, some chemical staining on print surface. General view across garden towards Hari Parbat Hill in the distance.[90x116mm]. Snapshot. Distant view of guest house. Snapshot. Indian group posed beside bird cages in the market. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot. Snapshot in the village? Snapshot looking along platform. Snapshot of a road. Snapshot of a village road. Snapshot of crowds standing beneath a horse sculpture. Snapshot of distant group of beaters climbing a hill. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x59mm]. Snapshot of Donald Ross (rear view) looking across a valley. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 106x60mm]. Snapshot of hills silhouetted against evening sky. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 105x59mm]. Snapshot of members of the viceregal party in wooden punts on the lake. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 102x63mm]. Snapshot of mountain scenery, Waziristan. Snapshot of path among trees.[76x103mm]. Snapshot of temple at summit of rocky hill. Snapshot of unidentified trees. Snapshot of viceregal party in the Shalimar Bagh. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 106x62mm]. Snapshot of waterfall in Shalimar Bagh. Snapshot of wooded hillside.[Printing-out paper, 82x108mm]. Snapshots at Madurai and Madras. Snapshot showing part of a bungalow in a forest clearing. Snapshot showing Winifred Wilson riding at the head of the caravan of baggage mules, with her husband Edgar visible in the distance. The accompanying note reads 'E. A. W., with W. G. W. at head of caravan � including my sister [Marjorie] (1 yr) and myself [Isobel (4 and a half) in palekens � through the rough Bakhtiari country from Isfahan to Ahwaz. Journey of one month, camping en route.' For a clearer view of the 'palakens' used to carry passengers by donkey, see print 272. Snapshots of rivers in spate.[Gelatin silver prints]. Snapshot view, looking towards Dal Lake. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 62x105mm]. Snapshot view, the village just visible through trees in the background. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view. Snapshot view across the Hygam Jheel. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 104x62mm]. Snapshot view along a river, with figures visible in the distance.[Silver printing-out paper, 73x79mm]. Snapshot view from the river. Snapshot view in Shalimar Bagh. Snapshot view in the garden of Viceregal Lodge. Snapshot view in the Shalimar Gardens. Snapshot view looking across tank.[Printing-out paper, 106x63mm]. Snapshot view looking down on a street. Snapshot view looking towards newly constructed regulator. Snapshot view of a field of irises. Snapshot view of a garden. The Taj Mahal is just visible in the distance. Snapshot view of a hut. Snapshot view of a lake. Snapshot view of a mountain, Waziristan. Snapshot view of an Indian group on a hill road. Snapshot view of a river. Snapshot view of a river. Snapshot view of a street with a gateway. Snapshot view of a thatched house. Snapshot view of canal works. Snapshot view of crowds. Snapshot view of crowds. Snapshot view of distant hills. Snapshot view of entrance to fort.[Printing-out paper, 107x63mm]. Snapshot view of fountains in Shalimar Bagh. Snapshot view of houses, with figures seated beneath tree in foreground. Snapshot view of houses in the town. Snapshot view of lawn and chairs. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 60x105mm]. Snapshot view of local craft at Myitkyina. Snapshot view of men on a raft. Snapshot view of military/police lines? See also Print 74. Snapshot view of mountains. Caption on the verso reads: 'DTK [Datta Khel] Column 1942. The Bastion off Kalandra & view down Tochi [river]'. Snapshot view of mountains. Snapshot view of mountain village. Snapshot view of open country, with hunting party in middle distance. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x60mm]. Snapshot view of poor quality. Snapshot view of rapids. Snapshot view of rapids. Snapshot view of rapids. Snapshot view of road cut through mountains. Snapshot view of the bridge of boats. Snapshot view of the grounds. Snapshot view of the lake. Snapshot view of unidentified military/police lines? See also Print 86. Snapshot view of yachts on the Lake. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot view probably by Constance Villiers-Stuart. Snapshot view showing a camel caravan passing along the road. Snapshot views of Attock, including one through the window of the room in the caravanserai where R.A. Butler was born; one view looking down onto the racecourse at Simla; group of three Indian Army officers in uniform (the figure on the right probably Gervas Edward Portal, who married Sir Montagu Butler's daughter Iris).[Gelatin silver prints]. Snapshot view towards mountains. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 62x106mm]. Snapshot view with a bullock cart on the right. Snapshot view with part of the temple on the right. Snow covered landscape. Snow-covered scene, deodars in foreground. Snow-covered wooded hills. Snow fans running down to the water's edge. Snow scene, conifers in foreground. Snow scene, looking across the valley at Baltal towards mountains. Baltal is situated at the foot of the Zoji La Pass. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 27. Snow scene, looking along an avenue of birch trees. Snow scene, oak trees in foreground. Snow scene. Snow scene. Snow scene. View looking along the hillside towards Christ Church. Snow scene in the Burzil Pass, with houses in foregound almost covered. Snow scene in the Sherpur Cantonment. Duplicate at Photo 430/2 (80). Snow scene in the Sherpur Cantonment. Snow scene looking along the Jhelum towards the Shah Hamadan Masjid. Snow scene on the hillside near Shimla. Snow scene with distant view of St Mary's Church. Reproduced in Frederick Bremner's Baluchistan illustrated 1900 (Quetta, c.1900, IOL V.6553). Snow scene with trees. Duplicate of print 27. Snow scene with trees. Soft focus study of two Kashmiri woman on boats at the bank of a river. Mounted on card and signed 'S.H.' or 'H.S.'[Platinum print, 194x151mm]. Some fading. Duplicate (in better condition) at Mss Eur F157/484 (55), where the location is identified. Some fading. Some locations unidentified. Somewhat distant view of monastery buildings. Somewhat distant view of monastery buildings 16 miles from Lhasa, with rock on hillside right of centre, marked with a cross. Joins with print 61 to form a panoramic view of the monastery complex and surroundings. Somewhat distant view of the church from across the maidan. Somewhat faded. General view, looking over trees towards the site. Somewhat faded print. Showing diggers at work on the mound. Somewhat faded print. View towards the mountains. Sonarwain in winter, with snow on the ground. Source of the Jhelum. From south. Source of the spring is marked by a cross on the print. Southern section of Chowringhee Road from the Ochterlony Monument. Prints 21-24 form a panoramic view of Chowringhee Road. There appears to a print missing between prints 23 and 24. Specific location unidentified. Spirit posts in the street, with houses in the background. Spoilt photograph, most of image fogged. Square-rigged sailing ships moored in the Hugli off the Maidan, with the High Court visible in the distance to the north. The nearest vessel is the three-masted ship Glengarry of Liverpool. Local craft in foreground. Stand of palm trees in the gardens. Stand of trees, with house beyond. Starboard beam view of a steam launch moored at the riverside, probably on the Irrawaddy.[Printing-out paper, 139x87mm]. Starboard beam view of the steamer Mongolia at Aden. Starboard beam view of the steamer under way in Cochin harbour.[Gelatin silver print, 98x78 mm]. Starboard beam view of the steamship Sutlej anchored off a rocky coast. The landscape and th local craft clustered round the ship suggest that this is Malta. Starboard quarter view of the steamer Clan Macintyre berthed alongside the new wharves. Steamer (Indian troopship?) under way on the canal. Steamer berthed at wharf, either taking on or discharging cargo by crane. Steamer negotiating a bend on the canal. Steamers moored at a ghat on the Irrawaddy. Precise location unidentified. Steep scree and hillside in foreground. Stein's negative notebook identifies this negative as a continuation of the panoramic view in 199, but it does not appear to connect up with it. Duplicate negative from a nitrate original now destroyed: no print. Steps leading up the steep hillside to the temple. Stereo half. 'Allusion has already been made to the numerous fine trees around the Residency at Hyderabad. That represented in the accompanying photograph is remarkable for its fine ramification, which is seen to advantage in its leafless state.' Stereo half. 'In the view, Lascars are seen pitching the tent, and the seated figure is an officer, who has just reached his encamping ground, and is refreshing himself by drinking tea. The small tent on the right is the bath-room, tubbing being an indispensable ceremony in the daily life of an Englishman in India.' Stereo half. 'The Juhan Numa (View of the World), one of the residences of Nawaub Shumsh-ool-oomra, is situated about a mile and a half outside the city of Hyderabad, and is built in imitation of the old French style of architecture, with a gallery overlooking the reception-rooms. The garden and grounds are beautifully laid out: fountains, marble seats, and brilliant flower-beds alternating. In the rear of the building is a considerable menagerie of wild animals. From the summit of the house a magnificent view of Hyderabad and the surrounding country is obtained.' Stereo half. Frontispiece to volume, looking along the bund towards the bridge, with Indian group posed in foreground. Stereo half. Stereo half. View looking out over the parterre towards gardens and woods beyond: '...The view comprises a considerable portion of the city of Hyderabad; but the trees are so much grown, and so thick in gardens and enclosures of the city, that but little of the houses or buildings can be seen from a distance.' Stereo half. View looking towards the gates of the village of Maula Ali, about four miles north-east of Secunderabad, with sago palms growing in the foreground. Stereo half Stereoscopic pair. Second copy neg at B.783. Stereoscopic pair. Stereoscopic pair. Stereoscopic pair. Stereoscopic pair. Stereoscopic pair. Stereoscopic pair. Stereoscopic print of the grave of Henry Houlton Robinson (c. 1834-1862), Bengal Civil Service 1854-62. With file of letters from his family and copy of inscription on grave.[Albumen print, 140x76mm]. Stereoscopic view, with an Indian figure posed in the foreground. Duplicate (later printing) of Photo 1000 (2051). Stereoscopic view. 'A view taken in the plain, looking towards the ghats, and exhibiting the character of the jungle, which the tiger loves to frequent.' Stereoscopic view. Close view looking along the bridge seen in print 1. stereoscopic view. Distant view of the Brihadishvara Temple. Stereoscopic view. Duplicate of Photo 962 (1). stereoscopic view. General view looking along the masonry anicut or dam. stereoscopic view. General view of the hill fort. stereoscopic view. General view over surrounding countryside. stereoscopic view. Looking towards the River Cauvery. stereoscopic view. Stereoscopic view. stereoscopic view. stereoscopic view. Stereoscopic view. Stereoscopic view. Stereoscopic view. Stereoscopic view. stereoscopic view. View from the bridge looking down onto the ghats. stereoscopic view. View looking down onto the tank. stereoscopic view. View looking over the town and surrounding countryside. stereoscopic view. View looking towards the River Cauvery and beyond. stereoscopic view. View over town and surrounding countryside. Stereoscopic view. With a distant view of the Perumal Temple. Stern view of a junk on the Yangtze. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 90, there titled, 'Battling with the Yang-tsze'. Stern view of the paddlesteamer 'Kabuli' moored at the ghat.[Lantern slide, 75X75 mm]. Stone bridge with houses across the top over a canal in Srinagar. Stone cairn at head of pass with mountain peaks beyond. Stream and ruins in the Anti-Lebanon range of mountains. Stream cut through the rock-face. Stream running through jungle. Stream running through jungle Street in the monastery. Street leading to the Jami Masjid. Street scene, looking towards massive gateway in the city wall. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 272. Street scene, looking towards the premises of Henderson and Co.[Printing-out paper, 172x124mm]. Street scene, looking towards unidentified temple gopura. Street scene, possibly at Chandragiri.[Gelatin silver print, 98x78 mm]. Street scene, presumably near the Anarkali Church. Street scene, with bazaar at left. Street scene, with bullock cart in foreground. Street scene, with Burmese women in holiday costume and pagoda in background. Street scene, with crowds watching cavalry (blurred) riding past. Street scene, with figures seated on wall in right foreground. Street scene, with food sellers seated in the foreground.[Gelatin silver print, 286x231mm]. Street scene, with mountains in the distance. Street scene, with shop premises and figures posed in foreground. Street scene, with temple gopura in distance.[Gelatin silver print, 98x78 mm]. Street scene.[Printing-out paper, 170x125mm]. Street scene. Postcard published by B. Rigold & Bergmann, Bombay. Street scene. Precise location unidentified. Street scene. Probably photographed by Gobindram & Oodeyram. Street scene. Small snapshot. Street scene. Small snapshot. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene. Street scene framed by gateway in foreground. Street scene in an unidentified village. Street scene in a rural village, probably in West Bengal. Street scene in front of a bazaar.[Gelatin silver print, 119x80mm]. Street scene in Kalbadavie Road, Bombay. Street scene in Kulja (modern Yining). Street scene in Monglem. Street scene in Surabaya.[Printing-out paper, 170x122mm]. Street scene in the bazaar.[Gelatin silver print, 98x78 mm]. Street scene in the bazaar. Street scene in the bazaar. Street scene in the Lhasa bazaar.[Gelatin silver print, 141x92mm]. Street scene in the Pettah, with the Cayman Gate in the right foreground. Other copies of this photograph are signed by the photographer, and it is likely that the other Ceylon photographs in this album are also the work of Scowen & Co. Street scene looking along the Tripolia Bazaar near the palace. This photograph links up with print 28 to form a panoramic view Street scene looking towards (?)covered bazaar.[Gelatin silver print, 166x114mm]. Street scene looking towards a gateway. Street scene looking towards gate. Street scene looking towards shop which, despite the caption, appears to be a basket makers shop. Duplicate negative, no print. Street scene on the Ridge. Street scene showing roadway covered with debris, with a line of sandbags in the foreground.[Albumen print, 271x202mm]. Street scenes with bastions and fort wall visible in background. Street scene with a British officer standing in the centre, Balding? Street scene with a family standing outside their house. Street scene with a flock of pigeons in the foreground. Street scene with a flock of pigeons in the foreground. Street scene with an arched gateway. Street scene with an electric tram. Street scene with an Indian man ('Sumradji'?) in a carriage. Street scene with an inset picture of a caravan. Street scene with a rickshaw in the foreground. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 202. Street scene with a rickshaw in the foreground. Street scene with bullock cart.[100x68mm]. Street scene with bullock cart. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 296. Street scene with bullock cart. Street scene with European bungalows, probably military quarters. Street scene with fountain. Street scene with gateway. Street scene with gopura beyond. Street scene with men on horseback. Street scene with minarets in the background. Street scene with pedestrians and carts setting out.[Gelatin silver print, mounted on card, 283x213mm]. Street scene with shops and rickshaws. Street scene with the rear of the Jami Masjid visible at the end. Street scene with two electric trams. Streetside food-stall, with man stirring pots over a fire. Street traders in foreground, with covered market stalls and buildings beyond. Original and duplicate negatives only, no print. Street traders in foreground. Unsharp. Street traders selling produce from baskets laid out beside the road. Street view looking towards dome of mosque. Study of an oak tree, with a youth seated against its base, reading. Study of ferns. Study of hills and clouds. Study of roots of ficus elastica in the Botanical Gardens at Peradeniya.[Albumen print, signed 'Scowen' in the negative, 278x220mm]. Study of woodland vegetation, presumably in India.[?Matte collodion printing-out paper, 243x191mm]. Sugar cane being harvested. Summer house or bungalow in the gardens. Summit of rock in clouds. T. Bloch, 'A list of the photographic negatives of Indian antiquities in the collection of the Indian Museum: with which is incorporated the list of similar negatives in the possession of the the India Office' (Calcutta, 1900) notes, 'Useless for archaeological purposes.' These three pictures are probably of scenes in the Swat Valley. Taken before the flood. Taken from a similar viewpoint to print 4, but from much higher. The Victoria Terminus with platforms and sidings to the north takes up central portion of print, with the Municipal Offices and Maidan in foreground.The General Post Office is to the right, with the Docks beyond. Taken from a similar viewpoint to print 60, but printed in narrow, 'panoramic' format. No. 62 in Burke catalogue of Afghan War views. Taken from the road leading up to the palace. Takht-i-Sulaiman in the distance. Tank at Kota. Tank in foreground, looking towards barrage. Ancient Persis, fig. 18: 'Ruined barrage on hill-top above ruined 'Town of Ij'. (Ancient Persis Map C2). Tank with hill beyond.[Gelatin silver print, 98x78 mm]. Tank with road running alongside. Tea estate buildings, with young tea plants growing in the foreground. Teague-Jones's car Zobeida at the top of the pass, with a donkey caravan on the road:'The long ordeal was over, but one problem solved led immediately to another. After taking out everything moveable from the car, the vehicle was a mere empty shell. With engine in gear and me running alongside, steering with one hand and pushing with the other, the wheels never more than a few inches from the edge of the steep mountainside, I got Zobeida to the 8,000 foot summit. But all the kit, provisions and fuel were scattered over a distance of more than a mile away in the valley below. How to get them to the summit? Only a miracle could do it. But my prayer was answered and a miracle happened. Asi fi by magic, into the empty landscape there appeared a party of native donkey-men with unladen animals, and lo, this problem, too, was solved!'[Gelatin silver print, 166x115mm]. Teague-Jones and his car (Zobeida) surrounded by a crowd in front of the gates of Niriz.[Gelatin silver print, 166x90mm]. Teak logs in river at an unidentified location.[Gelatin silver print, 132x76mm]. Team of buffalo dragging shifting timber in the jungle.[Printing-out paper, 97x73mm]. Tea pickers at work, with European woman (?Irma Bailey) standing at right. Small snapshot. Telephoto view of the peak of Mustagh Tower. Print in poor condition, rolled, with some tears.[Gelatin silver print, blind embossed 'Vittorio Sella, Biella', 279x375mm]. Temple and shrines at the Burning Ghat. Temple largely obscured by trees. Temporary bridge over river tributary. Ten small snapshots, mostly of indifferent quality: including informal family portraits and views of Viceregal Lodge and Observatory House, Simla. There is also one view of a train on the Kalka-Simla Railway near Tara Devi.[Gelatin silver prints, various sizes]. Tent in foreground, with Beas River visible in the distance. Tent pitched at edge of glacier, with mountains beyond. Tent pitched beneath large tree. Tent pitched beside the Sind River. Tent pitched in woodland clearing. Tent pitched under tree. Tents, with pool in foreground. Tents in foreground, hilly country beyond Tents in foreground, sheer-sided hills on further side of valley. Tents in foreground, with mountains beyond. Tents in foreground with temple beyond. Tents pitched among conifers. Tents pitched beneath trees. Tents pitched in a broad valley, with mountains in the distance. Possibly photographed during the Second Wild Wa Expedition. Tents pitched in a woodland clearing. Tents pitched in foreground, hills beyond. Tents pitched in front of the fort. Small, square format print. Tents pitched in front of walled building. Tents pitched in woodland clearing. Tents pitched on hillside.[Printing-out paper, 130x52mm]. Tents pitched on hillside. Tents pitched on riverbank. Tents pitched on shore of lake, with mountains beyond. Tents pitched on the site of the new capital. Tents surrounded by low stone wall. Tent with table in front. Negative only, no print. Terraced paddy fields along the side of a valley. This forms the left-hand section of a panoramic view continued in print 63. Thatched bamboo house with the roof of the monastery visible in the background. A characteristic Burmese carts with solid wooden wheels stands to the left. Thatched houses at roadside. Thatched houses on a wooded hillside. Precise location of Klaw-ku unknown, presumably in the Shan States. Presumably the same location as Photo 92/8 (35), where the reason given for abandonment is cholera. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 295, with caption note: 'The Entrance to Kiaw-Ku, a Burmese village temporarily abandoned because of cholera. The Red Karen villages are usually far up in the hills and as much off the main roads as possible. They are also surrounded by close fences of live bush growth, reinforced by dry thorn branches and stakes.' Thatched houses ranged along the crest of a hill. Thatched village dwellings by the side of the road. The 'museum', 'mausoleum' and 'Mithridates' Stairs' are identified. In the middleground is the ghostly image of an infantry regiment on parade during exposure. The 'RC Church', 'Eng Church' and 'Temple of the Sacred Tooth' are identified at the top of the print. This print is numbered 2086 but the same view is listed as No 2131 in a later Bourne & Shepherd catalogue. The barracks are in the distance, a bungalow in the foreground. The bathing pool below the first cascade of the Chittaur Falls. The bell, in an open-sided pavilion, stands beneath a large tree. The Bhagirathi River emerging from the ice cave at the foot of the Gangotri Glacier. Bourne & Shepherd catalogue title: 'The source of the Ganges, - Ice Cave at the foot of the Glacier'. The Bhagirathi is a headstream of the Ganges (Ganga). The Blue Mountain Express halted at Coonoor Station. The bridge after the floods. The bridge before the floods. The bridge before the floods. The bridge before the floods. The bridge in place before the flood. The bungalow is just visible through the trees. The cannon standing outside the Museum at Lahore. Duplicate at print 28. The carts are laden with sacks. Duplicate at Photo 671 (125). The Cauvery Falls on the east side of Sivarasmudram Island. The church is visible behind trees on the right. The conical shaped hill is seen in the distance in Print 17. The dak bungalow overlooking the smaller village houses. A late print of a Bourne photograph. Bourne's original negative number (1426) has been scratched out and replaced by a later reference. The damaged bridge after the floods. The digging place is marked by soldiers placed in position. Archaeological Reconnaissances, fig. 35: 'Mounds marking prehistoric site, south-west of Bampur fort.' The Diwan-i-Khas is visible on the right. The following palms are identified: 'Wild Date Palm', 'Kattoo-Kittal', 'Talipot', 'Palmetto', 'Areca', 'Behind young cocoa nut, the Grand Rattan, Thwaite's snuffbox'. The fort of Taragarh is identified on a distant hill. The fortress plateau of Gwalior on the horizon, with the Jai Vilas Palace to the right and the Musafir Khana in the left middleground. The garden of John Claude White. The gardens are seen in the background of Print 84. The Golden Rose moored in the canal beside the garden. The gorge is at the village of Deh Mazang or Mozang on the Ghazni road just outside Kabul. 'On the 11th December 1879, this village was held by 200 men of the 72nd Highlanders sent out from Sherpur, and the Afghan advance was checked' (Gazetteer of Afghanistan, part IV, Calcutta, 1910). Duplicate at Photo 430/3 (56). The gorge is at the village of Deh Mazang or Mozang on the Ghazni road just outside Kabul. Duplicate at Photo 430/2 (75). The grave in the foreground is that of Russell Colvin, the Lieutenant-Governor who died in the fort during the Mutiny. The grave of stepped ston in the foreground is Yule's. The great banyan tree in the Botanical Gardens. The ground below the wall is filled with spectators watching a race. The highway in winter, with figures clearing snow.[Albumen print, 133x190mm]. The highway under snow in winter, with Mount Kobi in the background.[Albumen print, 191x132mm]. The house is mostly obscured by trees. In the foreground stands a European man (Major Black) with two women behind him under a tree, playing croquet. Major Black is Samuel Black (1828-1893), Staff Corps (late 37th Native Infantry), Military Secretary to the Punjab Government 1862-82.[Albumen print, 294x247mm]. The Indian location is unknown. The Indian location is unknown. The initials 'AM' or 'MA' are on the reverse. The Jacqueline moored in the canal beside the garden. The Khurd Khaibar Pass is a defile in the Jalalabad district: 'It is very narrow, in some places not admitting of two horsemen riding abreast, and about three-quarters of a mile long. It is merely a deep, narrow ravine with high banks in some parts. The road through it is good, and the descent in it is not difficult, but an enemy occupying the heights could stop the advance of any force till they were dislodged' (Gazetteer of Afghanistan, part IV, p.299, Calcutta, 1910). No. 54 in Burke catalogue of Afghan War views. The Mission was at Chitral from 11-18 September 1885 and again from early October to mid-November.[Albumen print, 185x152mm]. The modern temple can be seen in the left background. India Museum no. 599. Duplicate of Photo 1000 (2541), where the print was made after the negative had been damaged. The original Bourne & Shepherd number, 2068, is on the print; however it appears to have been renumbered at a later date as the same view is described as No 2114 in a subsequent Bourne & Shepherd catalogue. The original caption is illegible: 'A Po[?]'. The paddle steamer Pioneer at anchor on the Yangtze (Jinsha Jiang) The palace is in the background with a fish-shaped boat on the river in the foreground. This print is listed in H.Hering's catalogue of Beato photographs as No.29 in the section 'India - Lucknow and Cawnpore (First Series)'. The description reads: 'Chutter Manzil Palace with the King's boat in the shape of a fish - First attack of Sir Colin Campbell in November, 1857'. The photographer's signature is on the print but difficult to decipher. The Potala itself is largely obscured by trees in the foreground. The print has been renumbered from 2108 to 2154. The print has been renumbered from 2118 to 2164. The print is annotated as follows: 'Note. A previous rearguard action was fought at the Banas River crossing on the Sewai Madhopur Road, the rearguard being an[?]ated S. of the river'. The print is numbered 1898-a. There is no Bourne No.1898-a listed in the Bourne & Shepherd catalogues but No.1898 is described in an early catalogue as, 'Darjeeling, picturesque 'Bit' on the Tukvar Road' and in a later catalogue as, 'Sunrise on Kanchenjunga from Sandakphoo'. There are crowds on the pier and promenade in the foreground. There is a caption on the reverse which is mostly illegible but which is signed, 'J.J'. This may be the same JJ (J. Johnston?) who is responsible for several ASI prints. The rock bridge over the Para River near the village of Kurig was one of Egerton's main reasons for entering Chinese Tibet. 'Aug. 19th. Went down early in the morning to the rock bridge. The geological features here are most singular, and I am almost afriad to venture on describing them....On the north bank are rocks containing mica, quartz, felspar, and hornblende run mad, now combining to form a light-coloured granite, now stratified into gneiss, anon the mica obtaining a divorce and forming a new connection with the adjoining slate and hornblende, packing themselves into amicable strata. Around and above all is the unending limestone, of a pale grayish pink. It is a mass of this, eighty feet in length, which, becoming detached from the overhanging rocks above, has fallen across the bed of the torrent and formed a natural bridge. I annex two photographs of it [in fact, only one image is included in the volume], showing the upper and lower portion of this ponderous girder. Not without scathe did I obtain these pictures...' (Egerton, p. 47). The Royal Artillery Mess, a two-storey stucco classical building, stands at the base of the hill, with the flight of steps built by Petrus Uscan beyond. The Royal Engineers Park in the Sherpur Cantonment, with an Afghan encampment in the foreground. Duplicate of Photo 447/1 (36). The ruined club buildings on the bank of the Gandak. The same location is photographed in Print 66. These are smaller vessels than the trading junks. The site 'proved to comprise three low-walled enclosures each containing a number of what are undoubtedly Muhammadan graves. All are built on the same plan with walls of fairly regular courses of fairly flat sandstone slabs, evidently brought from some easily worked stratum in the hills and roughly dressed at the ends...' (Gedrosia, p. 26). Gedrosia, fig. 2. The station is no more than a long thatched hut. Faded print. The studio of Gopal Sahai & Sons is at the end of the bazaar. The tank, with houses at the left. The tank is the source of the River Jhelum. The three ladies in a boat on the lake. The tower is seen in the distance partly obscured by trees. A chhatri is in the foreground. The town, on the north side of the Salt Range, and its ruins are described (with maps) in A. Cunningham, 'Four reports made during the years 1862-63-64-65' (A.S.I. vol. II, Simla, 1871), pp. 188-192. The ruin of the temple at the left is presumably thr large ruined temple. The area between this temple and the fort at the right is presumably occupied by the group known as the Sat-Ghara, but it is difficult to distinguish these. The town could be Peshawar or another NWFP town. The view is looking down from a roof top on to a busy street with shops on each side. The Tungabadhra is the chief tributary of the Krishna. Precise location of these prints unidentified, possibly at Kurnool. The two named figures (East Indian Railway engineers) standing in front of a bungalow, with a tank or river in the foreground. The undamaged bridge before the floods. The undamaged bridge before the floods. The valley floor littered with flood-borne detritus. The Viceroy's carraige driving past the Punjab Music Warehouse, Shimla, driven by one of the occupants, with a liveried footman riding behind. Possibly Lord and Lady Curzon, although the occupants are too small to identify with certainty. The view appears to have been taken from a vantage point on the Howrah Bridge, looking north along the river bank, with Strand Road in the foreground and Howrah on the far shore. 'Hooghly River and part of Calcutta's east bank. But for this giant stream Calcutta would likely never have been built - and for that matter, many of us would just as soon it hadn't. Nevertheless the river affords many spectacles and has accommodated millions of tons of supplies necessary to the war effort.' The village is possibly a camp for railway labour on the Mu Valley line.[Printing-out paper, 144x109mm]. The village of Bamaru was situated at the north-eastern corner of the Sherpur Cantonment. Duplicate at Photo 430/3 (19). The village street, with a European bungalow in the foreground. The watercolour sketches on this page are presumably also Millais' work.[?Platinum print, 198x155mm]. The wrecked bridge after the floods. The wrecked bridge from the riverbank. The Yercaud view 'No 18' in the List of Nicholas and Co's photographic views. Third from left section of four-part panoramic view comprising prints 306, 307, 309, 310, showing pass and glacier (at right). (I.A. Map 2, B3). Third from left section of seven-part panoramic view, comprising (right to left): prints 421, 420, 418, 417, 425, 426, 427. Third section of four-part panoramic view formed by prints 61-64. This almost an exact duplicate of Photo 312 (39). The only difference is the position of the boy nearest the moat. Also in the letterpress description accompanying the published photograph Hooper describes it as a view of the bridge leading to the South Gate. This backdrop possibly has some connections with Imre Kiralfy's Panorama of Ancient Rome (see print 87). This could be a copy print from an earlier photograph, perhaps by a different photographer. Duplicate at Photo 430/38 (7). This is 'No 147' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). This is 'No 8' in Pepp�'s list of descriptions which was forwarded with the prints to the Government of India. See Letter No 98, Public Dept., April 1871 (copy kept in Prints, Drawings & Photographs section). This is a copy of a Beato photograph (No 60? of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). See notes with Print 14. This is a copy of a Beato photograph (No 8 of the First Series in H. Hering's Photographic views and Panoramas taken by Signor F. Beato). An original version is at Photo 25(2). See notes with Print 14. This is a general view looking towards the north end of the lake. It is unnumbered and there are several views listed in the Bourne & Shepherd catalogue which it could be. This is a photographic reproduction of the lithograph 'Kupuldhara Tulao', No 22 in Part 3 of James Prinsep's Benares Illustrated, in a series of drawings, Calcutta 1833. This is a similar view, though taken some twenty years later, to print 2243. It is, however, taken from a lower viewpoint than that photograph and looks up towards the bungalow, with the summit of the hill beyond. The main part of the bungalow appears to have been destroyed in the intervening period, although the smaller building in front still stands, in somewhat dilapidated condition. This is one of the China series of prints described in H. Hering's Photographic views and panoramas taken by Signor Beato. The actual subject is unclear. This is presumably the location marked as Doian on contemporary maps, situated on the road running along the Astor River as it approaches the junction with the Indus. This is probably print No 47 of the China series described in H. Hering's Photographic views and panoramas taken by Signor Beato as 'View of the Imperial Summer Palace, Yuen-Ming-Yuen, after the Burning, taken from the Lake, Pekin, October 18th, 1860'. This may be a Nicholas & Co print as a similar view is described in the List of Nicholas and Co's photographic views (Madras 1896) as: 'Law's Fall'. This may be a Nicholas & Co print as a similar view is described in the List of Nicholas and Co's photographic views (Madras 1896) as: 'The Twin Falls'. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is accompanied by a long letterpress description. This print is identified as the work of Gobindram & Oodeyram from the initals, 'G & O'. As it is a duplicate of Photo 430/36 (15), it is probable that the remaining prints in Photo 430/36 are also by this firm of photographers. This print is on a page of five photographs headed, 'At Chiculdah'. This print is on a page of five photographs headed, 'At Chiculdah'. This print is on a page of five photographs headed, 'At Chiculdah'. This print sits above Print 14 to provide a top to bottom panorama. This print sits below Print 14 to provide a top to bottom panorama. This view is almost an exact copy of Bourne's photograph No.1730 suggesting a deliberate attempt to recreate Bourne's view. Prints 2 and 3 are also at the same location as Bourne's series of photographs depicting rural life in Bengal. This view is mentioned in the Ceylon Observer c.1868 in an article about Lawton's work. This view is taken from an almost identical position as print 40, looking along the same stretch of the valley, but with low cloud obscuring part of the scene. A group of porters stands in the foreground. Three Buddhist figures carved on rock face. Three Burmese men standing on a wooden bridge in the gardens. Three figures, one posed in the act of aiming a jezail, grouped in front of the fort. Possibly photographed by Baker & Burke during Lord Mayo's visit to the North-West Frontier. Three hunters standing among trees.[Gelatin silver print, 83x141mm]. Three Indian men sitting at the side of a pool which is fed by a small waterfall. In the background is a ruined building and jungle. Different Impey views of the same site are at Photo 1000 (2134a) and (2175a) where the location is given as, 'Ancient Devee temple at Bhangarh, deserted town in Ulwar, Rajpootana'. Three men and a boy standing in front of a rock, in a niche of which can be seen the group of tombs also shown in prints 11-13.[Gelatin silver print, 216x167mm]. Three part panorama. Three prints, palm-lined road and a canal scene with local craft. Three prints, river scenes, probably the Penner River. Three prints, two showing Coolie Ghat (leading up from Periyakulam to Kodaikanal), one a view of 'Coker's Walk' from Periyakulam. Three prints, views of Aden from the sea. Three prints, views of the anicut (irrigation weir) at Ambasamudram. Three prints of different wells. Three snapshots, showing a small stupa temple, a Tibetan group standing at a railway station (probably near Darjeeling) and a woman seated on a yak (captioned 'Henrietta on yak, Phari').[Printing-out paper and gelatin silver print.] Three views of landscapes near Wellington and one portrait of two Indian women (location unspecified). Three wallums - the canal barges of Kerala - under sail. Tibetan camp on level ground in foreground, with fort of dzong beyond. Tibetan farmer working with a team of yaks. Tibetan figures on horseback riding into the river. Faded print. Tibetan group at cairn at head of pass. Tibetan group with sacks of produce (presumably grain) in sacks. Tibetan labourers breaking ice on the river. Tibetan officials marking out ground. Close view. Tibetan officials marking out ground. distant view. Tibetans building a cairn. Tibetans in the Lhasa bazaar.[Gelatin silver print, 141x91mm]. Tiger hunting scenes, view of Raipur circuit house, Bastar bowmen, Mariah and Moriah beaters, Marias petitioning the Governor to kill more tigers.[Gelatin silver prints]. Timber raft on the river. Timber rafts at the water's edge at the landing place at Moda.[Printing-out paper, 97x71mm]. Timber rafts moored at riverside.[71x99mm]. Timber rafts moored on the banbk of the Irrawaddy.[92x68mm]. Tinted lithograph showing the jetty on which Lord Mayo was stabbed. Titled 'Waterfall near Serahan' in the Bourne & Shepherd catalogue. Titled in Bourne and Shepherd catalogue: 'Simla; 'The Yarrows' with Shaili peaks in the background from Inverarm'. Titled in Bourne and Shepherd catalogue: 'Simla; sylvan scene north of Jakko'. Title in Bourne and Shepherd catalogue: 'Simla; cliffs east of Jakko and Chota Chelsea'. Tonga with M.E. (probably Mrs Ellis) passing beneath a banyan tree. Torrent running through forest. Tourists climbing the Great Pyramid with the help of guides. Towns include Hafrain, Ura, Shibam, Saiwoon and Mokallah. Traders and customers in the bazaar area. Poor quality print. Traders in the market. Traders seated among great piles of oranges. Traders seated on ground. Traders seated with their wares, shaded by awnings. Train halted at a stop on the line. Train in station in foreground, with camp and hills beyond. Landi Khana is a camp in the Khyber Pass at an elevation of nearly 3,000 feet, and is one of the most difficult parts to cross. Train of the Pawayan Steam Tramway Company crossing the bridge.[Albumen print, signed 'Fry & Rahn. No. 274' in the negative, 278x131mm]. Train on the line in the foreground, with Darjeeling beyond. Tree ferns growing on a wooded hillside. Tree-lined road. Trees lining path leading to bungalow. Trees outside a walled enclosure. Trekkers crossing a rocky hillside. Trekkers crossing a rocky plateau. Trekkers on an icy slope. Trekkers on a snowy incline. Trekking party crossing a snowy plateau. Figure scratched out (see Intro). Trekking party sitting on a rocky slope, unable to reach the frozen lake. Trisul peak in the Himalayas, 23,382ft. Trough photographed at find-spot. Troughs, pottery, etc., photographed at find-spot. Twelve prints, the majority looking across the plain towards the Cardamom Hills, but with two views of the Suruli Anicut (weir) at Virapandi. Two cadets, identified on the back of the print as John W. Taylor and (?)Charles F. Baldwin, posed in front of college buildings.[Albumen print, 122x139mm]. Two dhows on the stocks at the water's edge. Two elephants in foreground. Two elephants in the Lukhang Park north of the Potala, with part of the Potala visible in the background. Two Europeans standing on bridge. Two farmers at work in a field, with stream in foreground. Two ferries (?) occupy the foreground. Two figures posed in foreground. Two figures standing on pathway on estate land. Another copy at print 38. The man on the right is possibly William Croker (compare print 40).[Albumen print, 164x101mm]. Two girls with baskets standing among the iris. Two horses and riders on the road. Two Indian boys posed with a large urn. Two laden camels on the highway.[Gelatin silver print, 299x210mm]. Two men launching a catamaran into the ocean.[Gelatin silver print, 98x78 mm]. Two men operating a picottah, 'that ancient machine for raising water, which consists of a long lever or yard, pivotted on an upright post, weighted on the short arm and bearing a line and bucket on the long arm...' (Hobson-Jobson). Probably the print listed in the Nicholas & Co. catalogue as '50. Picottah (native contrivance for raising water)'. Two-part panorama. Distant view. Duplicate at Photo 10/13 (22). Two-part panorama. Two-part panorama of Esplanade Row, showing various commercial premises including Payne & Co, T.E. Thomson & Co and G.C. Hay & Co. Two-part panorama split in the middle. The '(Club) Hospital', 'French market place', 'oldest church in the Crimea' and 'Woronzoff's house' are identified. Two ponies held by Tibetan servant on rocky hillside. Faded print. Two prints, a general and a close-up view of a pipal tree. Two prints, distant views of Valletta from the sea. Two prints, forming a panoramic view looking towards the hills. Two prints, showing dam and sluices, with sluice-gate machinery. Two prints, views looking across the bay at Ennore (Ennur). Two prints, views looking towards mountains. Two prints, views on the canal. Two prints. Two prints joined to form panoramic view from neighbouring hillside, with Palace in left centre, River Beas in right background. Two snapshots of cannons from the fort at Nagpur, installed in the grounds of Government House.[Gelatin silver prints]. Two snapshot views joined together to form a panorama. Two soldiers standing on a wooden bridge built avross the moat of a fort.[Albumen print, 266x188mm]. Two stone guardian figures beside the road.[75x96mm]. Two Tibetan men collecting eggs. Two Tibetans in a square wooden boat in the lake in the Lukhang Park to the north of the Potala. Two views of the frozen waterfall, one blue toned. Two yaks wading across a stream Typescript note on revrse reads: 'Cochin airfield lies on a pear-shaped island reclaimed from the shallow backwaters. This is the terminus of the South Indian Railway; joined to the mainland by the bridge seen in the background under the clouds. The deep water channel in foreground forms the harbour for shipping. Modern quays and cranes accommodate ships of 10,000 tons. Airfield was being extended in 1942.' Typescript notes read: '...good birdseye views of Liddarwat'. Typescript notes read: 'Early morning scene from our tent door'. Typescript notes read: 'Evening scene on the marg just above our camp. You are looking more or less towards Pahlgam, and the Armiun Nullah is out of sight on the left'. Typescript notes read: 'This is the stretch of grass I propose to camp on in August 1940. The dark clumps in it are ""Adonis"" (the large yellow flower lika an anemone). The lake Har Nag lies in the hollow at the other side of the rocky gali ahead'. Typsecript caption note continues: 'The Bul Ush runs parallel with the Oi Tagh Gl. in its upper courses but at a much higher elevation; it then slopes steeply down and curves to the right. Though smaller, the steepness of itys slope at the point of junction causes it to push the Oi Tagh Gl. out of its course, right up against the mountain on its further side.'[Gelatin silver print, mounted on card with typescript caption, 228x299mm]. Uncaptioned panoramic view in four parts looking down onto the camp. The photograph appears to relate to the letter on page 54 from Gwyn Gwyn-Thomas to Lady Munro [sic], dated 9th Indian Infantry Brigade, 12 February 1921. The letter asks her to accept the 'enclosed photograph of our camp...I think you will like to have it as showing you the fine country which lies in the heart of the Mahsud Country. The photo is taken looking towards Kaniguram.'[Gelatin silver prints, 355x54mm]. Uncaptioned print. River scene, with porters crossing bridge in foreground. Beyond the central island in the river is another bridge to the far bank. Uncaptioned view of mountain scenery, probably taken in the vicinity of Stein's summer camping ground in the Kagan Valley. Unclear print. Uncredited, but probably a photograph taken by Sella during the Duke of Abruzzi's 1909 Karakoram Expedition.[?Matt collodion printing-out paper, 198x147mm]. Uncredited, but probably a photograph taken by Sella during the Duke of Abruzzi's 1909 Karakoram Expedition.[?Matt collodion printing-out paper, 292x212mm]. Under-exposed image, lacking detail. Unidentified building at summit of conical hill. Unidentified construction of branches in the jungle, tentatively identified as an animal trap. Negative marked up for cropping. Original and duplicate negatives only, no print. Unidentified crop being threshed by cattle in an Indian village. Unidentified location. Arrow marks highwater mark on bank. Unidentified location. Furthest span of bridge carried away. Unidentified location. Unidentified location. Unidentified location. Unidentified location. Unidentified river running through jungle, with a dugout canoe and Andaman Islanders in the foreground. Photograph probably by M.V. Portman. Unidentified river scene. Unidentified scene, possibly not in India at all. Unidentified scene showing curve of river with road running alongside. In the distance a fort on the right bank, and two obelisk-like structures facing each other across the river. Unidentified section of the river, with steep wooded hillside rising from the far bank. Unidentified street. Unidentified street. Unidentified view looking along a mountain valley. The print is incorrectly captioned, 'Salhi (Pangi), Chamba State, Punjab. Fountain slabs'. Unidentified woman picnicking on the bank of the River Tista. The caption is taken from the pencilled note on the reverse of the print. The caption on the album page reads, '?Mary (1927 Xmas).' Uninformative view of trees. Uninformative view of trees. Unknown location. Unknown location. Unknown location. Unsaddled mules resting during a journey. Unsharp. Original and duplicate negatives only, no print. Unsharp. Unsharp image. Unsharp image. Unsharp image. Unsharp print.78x103mm]. Unsharp print. General view of mound. Unsharp print. Unsharp print. Unsharp print. Unsharp print. View looking across tank towards the hill fort. Unsigned and unnumbered print. Possibly 1636 in the Bourne & Shepherd catalogue: 'The Lake, a peep through the trees from the south-east.' Unsigned print but probably by Skeen & Co. Unsigned print but probably by Skeen & Co. Valley and hillside, with very distant view of wild sheep grazing. Prints 147 and 148 are joined to form a single overlapping view. Valley and mountain scenery. Valley and mountain scenery. Valley scene. Variant of Photo 1000 (4247). Variant of print 51, cropped differently and in vertical format. Variant of print 94. Vegetable growers in their boats, gathered to pay duty on produce. Vehicles photographed during an unidentified expedition. Date taken from print 58, which appears to relate to the same trip.[Gelatin silver print, 163x217mm]. Very distant and indistinct view. Very distant view, with river (?Kyi Chu) in foreground. Faded print. Very distant view, with river in foreground. Poor quality print. Very distant view; lateen-rigged sailing vessels in foreground Very distant view. Circular print. Very distant view. Very distant view. Very distant view from a boat. The print is circular in shape. Very distant view from hillside; a poor quality snapshot. Very distant view of a train under way. Very distant view of camp, with mountain beyond. Very distant view of camp, with mountains beyond. Very distant view of camp in valley beside river, surrounded by hills. Very distant view of fort, with bullock cart on road in foreground. Very distant view of fort and tombs. Very distant view of gopura. Very distant view of gopuras. Very distant view of herd. Faded print. Very Distant view of herd. Very distant view of monastery. Very distant view of monastery buildings and mountains behind. Very distant view of the Amba Vilas Palace. Very distant view of the city. Very distant view of the Rupmati Mahal. Very distant view of village houses. Very faded. Duplicate of Photo 1000 (4034). Very faded print.[Silver printing-out paper, 135x77mm]. Very faded print. Very faded snapshot. Very faded Very poor condition. Very poor quality, indistinct image. (I.A. Map 3, C2). Very poor quality, indistinct image. Very poor quality, indistinct snapshot. Very poor quality: blurred, fading and indistinct. Very poor quality image (dark print). Left-hand section of three-part panoramic view looking across Alai Valley towards mountains, comprising prints 316, 322 and 325. Very poor quality photograph. View looking along the line. Very poor quality print, dark and indistinct. Very poor quality print, dark and indistinct. Very poor quality print, under-exposed (taken at night?). Very poor quality print, unsharp. Very poor quality print. A distant and indistinct view of the ruined fort on the summit of Bala Spina or Monastery Hill. Very poor quality snapshot. Very similar to print 11 Very similar to print 20. Very similar to print 297, but taken with a telephoto lens. Very small print, with photographer's wet-stamp on verso. Very small snapshot. Veyr poor quality print. View, possibly taken from the High Court, looking north along the Hugli towards the Howrah Bridge in the distance. Print unsigned, but probably Johnston & Hoffmann. View, presumably from the Tang La, looking towards Chomolhari, with figures standing beside their horses in the foreground. View, probably on the Dal Lake, with the hill of Takht-i-Sulaiman in the background. The large houseboat in the foreground is identified as belonging to Henri Dauvergne, the smaller boat behind (with cook's boat and dunga) being the Kay Robinson's. View (?from the British Residency) showing a corner of the lake in the foreground, with the city of Ajmer in the distance. View (probably from the Rajabai Tower) looking south-east, with Watson's Hotel in the foreground, and the Royal Alfred Sailors' Home on the far side of the green beyond. View across Alai Valley towards Trans-Alai Range. Middle section of three-part panoramic view comprising prints 373, 377, 378. View across Alai Valley towards Trans-Alai Range. Mt Kaufmann is now known as Lenin Peak. Left-hand section of three-part panoramic view comprising prints 373, 377, 378. View across Alai Valley towards Trans-Alai Range. Right-hand section of three-part panoramic view comprising prints 373, 377, 378. View across a lake in the zoo. View across a lake with figures, carts and animals in the foreground. This print is numbered 2075 but the same view is listed as No 2121 in a later Bourne & Shepherd catalogue.[Albumen print]. View across a ridge looking down to the tracks.; View across a rocky landscape towards distant mountains. View across a single span bridge, with brick towers at each end, towards a house on the far side. View across a small lake in the palace grounds, with unidentified buildings in the background. With a figure poling a small wooden boat in the foreground.[Printing-out paper, 97x76mm]. View across bastion towards houses inside the Fort. Later print from an early negative.[Gelatine developing-out paper, 232 x 178 mm]. View across bay. View across bay. Small snapshot. View across canal, with newly constructed regulator in foreground.[Printing-out paper, 369x292mm]. View across cantonment from the 3rd Bengal Cavalry Mess looking towards St John's Church, with mountains beyond. Other copies at Photo 430/2(6), Photo 487 (7), Photo 752/12(23). View across cantonment looking towards St John's Church with mountains in distance. Other copies at Photo 430/2(6), Photo 487 (7), Photo 132(39). View across cantonments towards St John's Church. Other copies at Photo 132(39), Photo 487 (7), Photo 752/12(23). View across cantonment towards St John's Church and distant mountains. Other copies at Photo 430/2(6), Photo 132(39), Photo 752/12(23). View across cloud-capped hills. View across cloud-covered hills. View across cloud covered mountain ranges. View across cloud-covered ranges. View across cloud-covered ranges. View across courtyard. View across fields towards mountains. View across fields towards mountains. View across fir covered hills. View across flat plain towards sheer cliffs. View across flooded plain towards mountains. View across garden, with croquet hoops set out on lawn. Distant view of Lieutenant-Colonel Charles Aitchison Smith (1871-1940), political agent at Gilgit. View across garden, with gardener at work in tulip bed in foreground.[Gelatin silver print, on card mount stamped 'Verascope Richard, 10 rue Halevy, Paris', 117x116mm]. View across gardens, with summerhouse in foreground.[Albumen print, signed in the negative 'H.D.', 251x198mm]. View across gardens towards hills beyond.[Silver printing-out paper, 136x80mm]. View across gardens towards offices. View across garden with bungalow in background. View across harbour towards an island, with jetty in foreground. View across heavily wooded hills. View across hills, showing terrace cultivation. Poor quality print.[Gelatin silver print, 124x83mm]. View across hills, trees in foreground. View across hills, with horseman in foreground. View across hills.[Albumen print, 182x117mm]. View across hills and valleys at an unidentified location, with a figure looking through binoculars in the foreground.[Sepia-toned print, 300x209mm]. View across hills View across jungle-clad hills.[Gelatin silver print, 136xx80mm]. View across jungle-clad hills.[Printing-out paper, 135x43mm]. View across jungle-clad hills.[Printing-out paper, 138x80mm]. View across jungle-covered country.[Gelatin silver print, 102x73mm]. View across jungle-covered ridges, with a cross on the print marking the position of Layshi.[Gelatin silver print, 135x80mm]. View across jungle towards mountains.[Gelatin silver print, 131x81mm]. View across Karun River. View across lake. Innermost Asia, vol. 2, fig. 372: 'Shedau Lake formed by barrage thrown down by Sarez earthquake.' View across lake towards glacier. View across large pool or tank towards houses beyond. For another copy of this print, see Photo 92/10 (96).[Albumen print, 238x189mm]. View across lawn. View across level stony ground towards hills. View across lightly wooded hillside towards mountains, with a figure on horseback in the middleground.[Gelatin silver print, mounted on card with typescript caption, 199x297mm]. View across main square, with school buildings on right.[Gelatin silver print, 98x78 mm]. View across marshy ground and pool towards houses on far side. Duplicate at Photo 92/11 (291).[Albumen print, 240x190mm]. View across meadow towards tents. View across mist-covered valley towards hills.[Gelatin silver print, 131x81mm]. View across mountain ranges. View across mountain valley. View across open, level ground, with diggers at work. View across open ground towards forest. Print in poor condition.[Silver printing-out paper, 196x148mm]. View across open ground towards the camp, with a line of beaters squatting in the foreground and camels grazing beyond. View across open plain, showing remaining piers of aqueduct. (Ancient Persis Map C3). View across open valley floor towards mountains. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 80. Another copy at Photo 364/1 (39). View across open valley floor towards mountains.Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 80. Another copy at Photo 364/2(17). View across ornamental pool towards small wooden bridge.[107x151mm]. View across paddy fields towards mountains.[Gelatin silver print, 98x78 mm]. View across partially constructed bridge and along line. A faded print.[Albumen print, 115x90mm]. View across pine-covered hills towards distant mountains. View across plain (Arai Valley) towards mountains and glaciers. View across plain and lake towards mountains. View across plain looking towards hills.[Sepia toned print, 135x77mm]. View across plains towards distant range of hills. View across plains towards mountains. View across plain towards hills. (Ancient Persis Map C2). View across plain towards mountains. View across plain towards mountains. Yaks grazing in middle distance. View across plain towards mountains in the distance. (Ancient Persis Map C2). View across plain towards snow-covered mountains. View across plain towards snowy range. View across pool in formal garden. View across pool towards cliff. (Ancient Persis Map B2). View across range of hills. View across ranges of hills. View across ranges of hills towards the Himalayas rising beyond. View across reservoir at Kuddan, with distant view of camels. View across river, showing remains of bridge. View across river, with pontoon bridge at left. View across river. A small print, torn.[Printing-out paper, 85x20mm]. View across river towards village and hills. View across river towards wooded hills, with three figures posed in front of tent in foreground. Print in poor condition, with considerable fading and some dirt staining.[Salt print, 212x169mm]. View across river valley with distant view of waterwheel. The valley floor is laid out with rice fields, with a village at the foot of the hills in the background. Print in poor condition, with a piece of paper stuck to sky area, and some cockling. View across rolling, lightly-wooded country towards distant hills. View across rooftops, with mountains beyond. View across rooftops. View across rooftops. View across rooftops towards hillside. Palace with tank beyond at left. Faded print.[291x222mm]. View across rooftops towards mountains. View across rooftops towards mountains. View across rooftops towards ridge of hills. View across scrub-covered hills. View across site, covered in rubble and small stones. Described, Gedrosia, p. 169. View across small fields, bordered by stone walls and interspersed with date palms, towards mountains beyond.[Gelatin silver print, 230x294mm]. View across snow-covered rooftops of Jolfa. View across steep-sided ridges, with the Tsangpo visible far below. View across stony ground towards village. View across street towards building. Faded print. View across surrounding country. View across surrounding countryside towards the village of Darab. (Ancient Persis Map C3). View across swampy ground towards cultivated gardens and buildings (largely obscured by vegetation). Faded print.[Albumen print, 241x190mm]. View across the Baltoro Glacier towards Masherbrum and other peaks of the Kailas-Karakorum Range. Some folds and small tears. Uncredited, but probably a photograph taken by Sella during the Duke of Abruzzi's 1909 Karakoram Expedition.[Silver printing-out paper, 241x188mm]. View across the Bay at Hon Gai, taken from a higher position than prints 11-12.[Albumen print, 224x167mm]. View across the Beas River from camp. View across the bridge looking towards the fort. View across the canal towards the Residency. View across the cemetery with Nicholson's grave in the foreground. Immediately beyond Nicholson's grave is that of Jessy Eleanor Blewitt.[Albumen print, 304x266mm]. View across the Chindwin.[Gelatin silver print, 122x36mm]. View across the completed timber pond. View across the Dibang towards forest on the far bank.[Gelatin silver print, 106x68mm]. View across the dock towards the Ordnance Office.[Albumen print, 228x165mm]. View across the dry river bed towards hills beyond, on the way to Adwhal. View across the Euphrates towards the town. View across the garden from one of the pavilions.[Gelatin silver print, 294x241mm]. View across the hills. View across the Indus at Sukkur, with the Sathbain Tombs at Rohri across the water in the middleground. View across the Jhelum towards the Lal Mundi Palace.[Silver printing-out paper, 285x210mm]. View across the Kabul Valley. View across the lake, with local boats in the foreground.[Silver printing-out paper, 238x186mm]. View across the lake.[Albumen print, signed 'Sach� 582' in the negative, 284x232mm]. View across the lake towards mountains. Very faded print. View across the lake towards the Burmese Pagoda in the Eden Gardens. Print unsigned, but probably by Johnston & Hoffmann. View across the lake towards the peaks beyond.[Captioned and signed 'Holmes 175' in the negative, 290x236mm]. View across the Maidan towards Chowringhee Road, with Jv.H. Foley's equestrian statue of Lord Hardinge in the foreground and the Ochterlony Monument beyond. Similar to Bourne no.1698. View across the Manash-Sarovar Tank towards the gardens beyond. View across the mist-filled river valley towards distant hills. Punlumbum was one of the hills used as a signalling post during the expedition.[Gelatin silver print, 131x81mm]. View across the Nam Pang River. Faded print. Scott was at Keing Kham on 27 February 1890. See also print 272.[Albumen print, 240x189mm]. View across the newly-completed weir. Precise location unidentified. View across the ornamental lake towards palace buildings.[Albumen print, 259x201mm]. View across the Orontes River, with irrigation water wheel on far side. View across the Palni Hills towards the plains. View across the park towards the Public Offices in the distance. Caption notes read: 'The Park is named after Sir Mark Cubbon, Chief Commissioner of Mysore, and covers over a hundred acres. It contains the Public Offices, built in 1868, before which is an equestrian statue of Sir Mark Cubbon, the band promenade, and the Government Museum. In addition to carriage drives and broad promenades, there are many tortuous paths and shady nooks which all help to provide a pleasant retreat, whether for pleasure or rest. The avenue leading from the upper terrace to the Museum is a striking feature. The view from the Public Offices is one of the most charming in the Station, showing as it does the Museum in the background with the feathery bamboos on the island beside it, and in the middle distance the fine avenue of Java fig-trees with the various paths and drives leading away from it'. Duplicate at Photo 2/9 (2). View across the plain, with Irma Bailey on horseback in the middle distance. Small snapshot. View across the plain towards distant hills. View across the plain towards hills. View across the plain towards mountains, from the mojnd at Wutaki. View across the plain towards mountains, with caravan in foreground. View across the plain towards the mountain. View across the river, with footbridge under construction. View across the river gorge towards the fort. View across the river towards buildings on the far bank.[Gelatin silver print, 133x78mm]. View across the river towards Moulmein, with a three-masted barque moored midstream and local river craft in the foreground. View across the river towards the landing stage. View across the river valley towards distant monastery buildings. View across the rooftops of central Rangoon, with the City Hall in the left foreground and the Sule Pagoda at the right. View across the rooftops of Tali. View across the rooftops towards the mountains beyond. View across the Salween, an almost identical composition to print 241 but taken at a different time of day.[Albumen print, 240x186mm.] View across the scrub covered valley towards the mountains of the Afghan border.[Gelatin silver print, 140x80mm]. View across the Sho or enclosed quarter at the foot of the Potala, with the city beyond. 'Sho Doring in right centre. This picture shows how Lhasa is encircled by parks and trees, and its picturesque setting generally.' View across the Simla Hills towards the Himalayas in the distance.[Gelatin silver print, 145x109mm]. View across the tank. View across the tank at Multai, with temple towers on the farther side. View across the tank towards hills. Like print 11, this is probably one of the series of views of scenes at Jhansi associated with the Mutiny which was offered for sale by 'G.M.J.' in The Englishman of 26 July 1859, and is most likely the print there described as Luchmer Tal - taken from a different position. View across the tank towards the bridge. View across the tank towards the rock fort and temple. View across the town. View across the town from the dome of the Town Hall, probably taken on the same occasion as print 67.[Gelatin silver print, 250x213mm]. View across the valley.[Silver printing-out paper, 94x76mm]. View across the valley. No. 63 in Burke catalogue of Afghan War views. View across the valley towards mountains. View across the valley towards snow-capped mountains.[Gelatin silver print, 281x203mm]. View across the viaduct, with a train on the line beyond. View across the viaduct. Duplicate at Photo 383/2 (14). View across the water towards the residency.[Gelatin silver print, 110 X 83 mm]. View across the Wular Lake towards the town. Caption note continues: 'A distant view of a curious little town, about forty miles from Sreenuggur, across the 'Wullah' Lake, a large sheet of water forty miles in circumference.' View across Tigris. View across valley. View across valley towards caves on farther hillside. Two of the entrances have been marked on the print in red ink. (I.A. Map 12, D1). View across valley towards glacier.[Silver printing-out paper, 153x113mm]. View across valley towards hills. View across valley towards mountain ranges. Stereoscopic view. View across valley towards mountains, conifers in foreground. View across valley towards mountains, with a group of tents pitched around a largew cypress.[Gelatin silver print, 296x220mm]. View across valley towards mountains, with camp in foreground. 'There, on a small fir-clad alp situated above a favourite Kirghiz camping ground at an elevation of over 10,000 feet, I was able to devote ten days of delightful coolness and seclusion to much hard work on reports, accounts, proposals about the collection of antiques, &c...' (ii, 844). (I.A. Map 2, C3). View across valley towards mountains. 'It is a very fertile valley with numerous small villages all growing excellent crops, and the climate is mild now.' (Lhasa Mission Diary, 23 August 1936).[Gelatin silver print, 141x92mm]. View across valley towards mountains.[Gelatin silver print, 98x78 mm]. View across valley towards mountains. View across valley towards mountains. View across valley towards mountains. View across valley towards mountains. View across valley towards mountains. View across valley towards mountains and glaciers. View across valley towards peak. View across valley towards the peak. View across valley towards the snow-covered peaks of the Safed Koh. View across wheat fields towards the distant Himalayas. View across wide valley towards mountains. View across wooded land towards hills.[Albumen print, 149x108mm]. View across wooded ranges of hills.[Albumen print, 192x238mm]. View along (?)Khabur River towards fort. View along a broad, unidentified river towards distant mountains. View along a busy commercial street in Hong Kong. View along a canal.[Gelatin silver print, 104x63mm]. View along a canal in Srinagar, with houses on either side. View along a conifer-lined road, with figures posed on the pathway.[Signed 'Holmes 144' in the negative, 238x281mm]. View along a country road near Calcutta, tank at left. View along a forest path. Negative only, no print. View along a forest path. View along agarden path towards a small summerhouse.[Silver printing-out paper, 156x108mm]. View along a gorge towards mountains.[Gelatin silver print, 108x162mm]. View along a jungle path, with figures posed a little way along.[Albumen print, 94x119mm]. View along a lane in Drepung Gompa, with the stave bearers (see prints 95-96) standing in the street. An unidentified member of the Mission is seated in the foreground, back to camera.[Gelatin silver print, 92x142mm]. View along along village street, with houses raised on stilts on the right. For another copy printed as a cyanotype, see Photo 1085/6(116).[Printing-out paper, 151x109mm]. View along an avenue of chenars near Srinagar. Stereoscopic pair. View along an unidentified street, with bystanders posed for the photographer. Print unsigned, but probably by Bourne and Shepherd.[Albumen print, 311x179mm]. View along an unidentified street lined with Chinese shops.[Albumen print, 267x206mm]. View along a path in the gardens, lined with tree ferns.[Albumen print, 212x272mm]. View along a ravine. View along a river bed. View along a river valley looking towards distant mountains. View along a river valley looking towards snow-covered peaks.[Albumen print, signed 'Sach� 816' in the negative, 283x231mm]. View along a roughly paved path towards the gatehouse. View along a row of shops. View along a shaded path, a woman standing in the middle distance. View along a street in the bazaar. View along a street in the monastery university. View along a street looking towards the temple gopura. View along a street of thatched houses, with villagers standing in left foreground. Note on album page reads 'This is possible (not used, I think),' with an additional note reading 'Yes, in A Histy. P.264.'[Albumen print, 184x117mm]. View along a street of thatched palm houses. View along a street of tiled houses in Keng Tung. View along a stretch of coast on Batti Malv, a small island in the Nicobar group south of Car Nicobar, with two whale boats rowing out of the bay in the middleground. This photograph is a platinum print; for a duplicate, printed as an albumen print, see print 32. Print 31 is a similar view. View along a tree-lined avenue in the park.[Silver printing-out paper, made c. 1900, 202x141mm]. View along a tree-lined road, with figures carrying loads on their heads posed in the foreground. View along avenue of trees. View along a village street towards houses. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 224. View along canal. View along city walls, looking towards pagoda. View along cliff face, with Swat Valley beyond. View along cliffs towards mountains. The photograph was reproduced in 'The Times' in 1938, entitled 'In the Highlands of Persian Baluchistan'. Skrine's lecture to the Royal Geographical Society on the Sarhad was published in 'The Geographical Journal' in the same year.[Gelatin silver print, 134x179mm]. View along edge of mound and over surrounding countryside. View along excavated trench, with figure standing in background. View along excavated trench. View along excavated wall, with Roze in background. View along foreshore, looking towards remains of sea wall. Archaeological Reconnaissances, fig. 69: 'Ruined quay wall of Siraf port.' View along glacier towards the peak.[Gelatin silver print, signed 'Eric Shipton 1937', 187x300mm]. View along glacier towards the peaks of the Muztagh-Karakoram Range. Reproduced in Filippo de Filippi, 'Karakoram and Western Himalaya 1909' (London, 1912), p. 299, there captioned 'Mitre Peak and Mustagh Tower from our camp at the base of Golden Throne.'[?Matt collodion printing-out paper, 244x192mm]. View along gorge. 'The task of safe-guarding the monthly caravan of up to two thousand camels, human beings and merchandise through the dangerous Sherani gorges called for constant vigilance and readiness for instant protective action.'[Gelatin silver print (modern print), 126x194mm]. View along gorge. Horsemen in foreground and picket on skyline. View along gorge near the undefined Tibet/India border. View along gorge towards mountains. View along gorge towards pass. View along gully towards stone aqueduct.[Albumen print, 268x215mm]. View along heavily-wooded ravine. View along heavily-wooded ridge. View along hillside towards bungalow, with soldiers grouped on skyline. View along lakeside, with pencilled note on reverse reading, 'Charlie's photo. From left to right - shops, boathouse, flats - The flats are several acres in extent. The surface is earth. They play polo, hockey, football, etc. there. Gymkhanas are also held. The low shop by arrow is Whiteway Laidlaws.'[Gelatin silver print, 134x77mm]. View along length of bridge, with a European crossing. View along length of ruined wall. View along line, with annotations in the negative indicating winding ropes, empties going down and loaded tubs waiting to be hauled up.[Silver printing-out paper, 138x81mm]. View along line, with engineers R.V. Gregory and J.N. Nunda standing at the right. Annotations in the negative indicate old K type girders being dismantled and new girders erected at side of piers.[Silver printing-out paper, 139x79mm]. View along line or eroded cliffs. View along main street, lined with houses, with a backdrop of mountains. Caption note continues: 'The great feature in the City of L� is this grand street. Although largely inhabited, the city wears an air of desertion, only dissipated by the occasional arrival of a caravan, which produces universal activity.'Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001. View along main street. View along mist-covered river valley. View along narrow paved street. View along one of the canals of Batavia (Jakarta), with women washing clothes in the foreground.[Gelatin silver print, 130x80mm]. View along one of the tree-lined paths looking towards the memorial. View along parapet wall towards pressure gauge, with the river on the right.[Printing-out paper, 369x292mm]. View along pass towards mountains. Stereoscopic view. View along path, with figure identified as 'T.K.' standing in foreground. Faded print.[81x139mm]. View along path leading up to the plateau. View along ridge, looking towards a ruined fort. View along ridge, with two Indian servants posed in middleground. View along river, with horseman riding in shallows.[Gelatin silver print, 141x92mm]. View along river.[78x100mm]. View along river. View along river (?Dumel Nullah) towards mountains.[Silver printing-out paper, 121x95mm]. View along riverbank, with boats moored in foreground. View along river bank, with small ferry drawn up. View along riverbank towards paddle steamers and flats moored at the ghat: 'This is our first military post on the river above Mandalay, on the right bank of the river. It is the landing place for Shwebo, and thus a place of importance. A ferry boat runs daily in communication with Mandalay and Kaniyat...' View along river gorge. View along river running between mountains.[Gelatin silver print, 141x92mm]. View along river towards distant mountains. View along river towards mountains. 'We had a long and tiresome journey of 23 miles slow in places owing to flooded track, and to steep climbs up and over the bluffs against which the river swirls in places...The Kyi-chu or river of Lhasa is a broad flood at this time of year, in places spreading half a mile wide, and in others narrowing and flowing rapidly against the bluffs and cliffs.' (Lhasa Mission Diary, 23 August 1936).[Gelatin silver print, 141x92mm]. View along river towards mountains.[Silver printing-out paper, 118x98mm]. View along river towards mountains.[Silver printing-out paper, 120x99mm]. View along river towards mountains. With Tibetan and two horses in foreground.[Gelatin silver print, 141x92mm]. View along river valley, looking towards snow-capped peaks. View along river valley, showing steep, heavily wooded slopes rising on either side. View along river valley. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 192. View along river valley. View along river valley. View along river valley. View along river valley towards mountains. View along river valley towards mountains. View along river valley towards mountains. View along river valley towards peak. View along road, planted on either side with trees and shrubs.[Printing-out paper, signed 'Holmes' in the negative, 292x234mm]. View along road, with cultivated fields in foreground. View along road, with remains of city walls at left. View along road, with street traders. Small snapshot. View along road, with thatched houses on either side. For a close view of the monkey sculpture, see print 225. India Museum no. 578. Duplicate of Photo 1000 (2521). View along road.[Gelatin silver print, 70x123mm]. View along road. Under-exposed. View along road clinging to side of steep hill. Vertical format. View along road in gorge, known as the Gat-barit, showing shale cliffs. View along road in winter, with figures clearing snow in foreground.[Albumen print, 196x134mm]. View along road towards houses. View along road towards railway line and entrance to Small Tunnel No.1. View along roadway, with large ruined arch above. This is clearly not a Burmese scene.[Gelatin silver print, 55x80mm]. View along roadway. View along roadway. View along roadway towards village houses. View along seashore towards fort and lighthouse (poor quality).[Gelatin silver print, 110 X 83 mm]. View along side of wooded ravine looking towards distant plateau. View along snow-covered valley, looking towards mouintains. View along snow-covered valley. View along snow-covered valley towards mountain peaks. View along steep-sided Matun Valley. View along steep-sided valley, with road running along top of cliffs on left.[Printing-out paper, 150x112mm]. View along steep-sided valley towards mountains. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 65. View along steep-sided valley towards mountains. View along street. View along street from a rooftop, with the Potala visible in the distance.[Gelatin silver print, 112x151mm]. View along street in Gyantse. View along street looking towards the entrance to the Jokang Temple. View along street of an unidentified village.[Gelatin silver print, 131x79mm]. View along street towards gateway. View along Sule Pagoda Street, with the Recorder's Court at right, looking towards the Sule Pagoda in the distance. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.847. The court is there called the 'Superior Law Court'. Photograph unsigned, but probably by J. Jackson. View along Telok Ayer Road, with the Thian Hock Keng Temple in the left foreground. Beyond are the twin minarets of the Nagore Durgha Shrine, built c. 1828-30 and one of the oldest Tamil Muslim shrines in the Straits Settlements. View along terraces from the pavilion. View along the Basra waterfront from the Shatt al Arab. View along the beach, with Chinese fishing nets at the water's edge.[Gelatin silver print, 98x78 mm]. View along the bund, lined with European houses. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 46, there titled, 'The river front at Hankow'. View along the bund, with labourers and a steam engine in the foreground.[Gelatin silver print, 241x184mm]. View along the bund, with work on the steel pile water seal in progress in the foreground.[Gelatin silver print, 241x183mm]. View along the busy street. View along the canal, overlooked by houses on either side. View along the canal, the banks lined with local boats. View along the canal, with bridge in foreground. View along the canal. View along the canal at the Chenar Bagh, with local boats on the waterway.[Silver printing-out paper, 103x76mm]. View along the Chitral River valley. View along the city wall. View along the coast at Muscat. View along the course during a meeting. View along the crowded street, with bystanders watching the photographer. View along the Dal Canal towards the bridge. For an earlier view of the bridge, see Photo 211/1 (41). View along the defile. View along the dry river bed, looking towards distant mountains. View along the Euphrates riverbank towards the fort and a lateen-rigged sailing boat. View along the excavated base of the stupa. View along the foreshore, with the fort in the distance. Archaeological Reconnaissances, fig. 62: 'Debris-covered slopes above port of Siraf (Tahiri).' View along the foreshore in the village of Taheri. View along the glacier towards peaks beyond. Duplicate negative, no print. View along the glacier valley towards the peaks of the Karakorams. Reproduced in Filippo de Filippi, 'Karakoram and Western Himalaya 1909' (London, 1912), facing p. 302, there captioned 'From Camp XII. Evening on the Baltoro.'[?Matt collodion printing-out paper, 241x187mm]. View along the gorge, with Stein's car visible on the road at the right. Precise location unidentified, probably south of Lakaband. View along the Gorge. View along the gorge from an elevated position. View along the Gumti towards the Iron Bridge, with the Chattar Manzil visible beyond. Caption as it appears in Hering's catalogue of Beato's views in square brackets. [Albumen print,301x217mm]. View along the Ha Chu, with bridge in foreground. View along the heavily-wooded valley, mountains rising on either side. Unsigned and unnumbered print, but almost certainly by Bourne and probably numbered between 260 and 320. View along the jetty towards the 'Titan' gantry crane, whose cantilevered arm is supported on a stack of railway sleepers. View along the Jhelum, looking towards Hariparbat Fort on the hill in the background. Inscribed in pencil on the reverse: '1156. View up the river from 6th Bridge (Srinagar)'. The number and caption correspond to the entry in the Baker and Burke catalogue published in Lahore in 1872.[Albumen print, signed 'Baker 1156' in the negative, 294x212mm]. View along the Jhelum, showing riverside buildings.[Silver printing-out paper, 285x207mm]. View along the Jhelum, showing Srinagar under snow.[Silver printing-out paper, 238x187mm]. View along the Jhelum at Srinagar, with bridge in middleground and Raja's Palace in the distance.[Albumen print, small portion missing along bottom edge, signed 'Bourne 821�' in the negative, 287x240mm]. View along the Jhelum at Srinagar. This is the right-hand portion of the panoramic view comprising prints 5-6; like print 5, it is in poor condition, with several tears. View along the Jhelum towards the bridge. View along the Jhelum towards the bridge. View along the Jhelum towards the First Bridge.[Albumen print, signed 'Bourne 837�' in the negative, 190x107mm]. View along the Jhelum towards the Shah Hamadan Masjid. View along the Khamba Valley towards the glaciers. View along the Khan River towards the bridge. View along the Khyber Pass at Landi Khana, with a caravan of mules on the road in the foreground.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 292x228mm]. View along the Kyichu River, looking towards the Potala in the distance. View along the Kyi Chu Valley, looking back towards Lhasa, with the Potala visible in the distance.[Gelatin silver print, 153x106mm]. View along the lake, with group on horseback in foreground. View along the lake. A very faded print. View along the lake. View along the lake. View along the lake in the Cantonment Gardens, looking towards the Shwe Dagon Pagoda in the distance. Print 167 is a better photograph from a similar viewpoint. View along the length of the lake. View along the Liddar River, with mountains in the distance. The caption as given appears to be the original one. 'Sind Valley' is also written in pencil on the back of the print. Uncredited, but probably a photograph taken by Sella during the Duke of Abruzzi's 1909 Karakoram Expedition.[Silver printing-out paper, 192x240mm]. View along the line, with the Jatinga River at the left. View along the line. Duplicate at Photo 383/2 (31). View along the line from the seat in front of the locomotive. View along the line line, with trains halted at the platform. View along the line of the bridge. View along the line of the track towards the river. View along the line running across the sloping rock face. View along the line showing rack in centre of track. View along the line towards a bridge. View along the line towards station buildings, with railway workers posed for the photographer and a locomotive on the line. A faded and yellowing print.[Albumen print, 264x189mm]. View along the Lungna La Pass. View along the narrow defile in the pass, situated some 20 miles from Kabul and a strategic point during the campaign. Duplicate at Photo 430/3 (55). Second copy neg at B.7533. View along the narrow paved street. View along the Nasim Bagh Canal from the Dal Gate.[Silver printing-out paper, 103x76mm]. View along the newly completed regulator.[Printing-out paper, 301x213mm]. View along the newly-constructed road towards the cutting. View along the Nyang river valley. View along the outer fortified wall of the village. (Ancient Persis Map B2). View along the palm-fringed beach, with fishing boats drawn up on the sand in the foreground. Probably at Mount Lavinia. View along the Paro Chu. View along the Paro Valley from Drugyel. View along the pass, with a camel caravan in the foreground.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 286x224mm]. View along the pass, with a stupa on the hill on the right of the print.[Silver printing-out paper, 181x118mm]. View along the pass, with camp in foreground. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 91, there titled, 'Camped at 16,000 feet.' View along the pass, with the village in the distance. View along the pass towards mountains, with river in foreground. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 94, there titled, 'The Chorbat La, 16,700 feet.' View along the pass towards mountains. View along the path, with the mani, a wall of inscribed stones, on the left. Another copy at print 301. View along the pier towards the new entrance to the harbour, with the bucket dredger Triton moored alongside the 'Titan' gantry crane. View along the railway jetty on the shore of Lake Baikal (Ozero Baykal). View along the ridge, with a bungalow with a corrugated-iron roof in the foreground (it is unclear whether this bungalow is the 'Longwood' in the caption). View along the ridge, with tents in the distance. View along the Ridge. View along the ridge. View along the ridge. View along the river, with a village on the hill in the background. This photograph was taken in one of the border states that subsequently became Chinese territory. See Photo 92/2 (65). View along the river, with boats in the foreground.[Silver printing-out paper, 103x76mm]. View along the river, with mountains beyond. A faded print, portion of glass negative missing from bottom left corner.[Printing-out paper, 153x108mm]. View along the river, with mountains beyond. View along the river, with the Shah Hamadan Masjid at the right. View along the river. Possibly the photograph mentioned in Scott's diary for 8 January 1890: 'Took a photo of Nawn Loi and one looking up river.'[Albumen print, 239x188mm]. View along the river. View along the river. View along the river (?Mangde Chu), with a chorten (stupa) in the distance. View along the river at the bottom of the gorge. View along the river at the Marble Rocks.[Albumen print, 285x230mm]. View along the river at Varanasi, looking towards Aurangzeb's Mosque. View along the river bank, looking towards a shrine. View along the river bank, looking towards temple pagodas. In the distance is the Irrawaddy Flotilla Company's landing place. View along the riverbank, with mussocks on the foreground. Torquil John McLeod can be seen in the distance fishing. View along the riverbank at Katha, with a laung-zat (paddy boat) moored in the foreground and a paddle steamer beyond. Print unsigned, but probably by Felice Beato. View along the riverbank towards the landing stage. Passage in the letter at the front of the album refers to this print: 'I enclose another photograph of the floating landing stage with a cargo boat or barge alongside discharging materials. Lying beneath the bridge is our bolio or pinnace for travelling in during the heat of the day, she is propelled by ten oars, or by sails, or by towing. On the bank is Dr Temple's tent for photographing operations...' View along the riverfront, with a port quarter view of the paddle steamer Ramapoora heading towards her berth. View along the river gorge from near its junction with the Tsalung stream. View along the river gorge towards mountains beyond.[Silver printing-out paper, 98x120mm]. View along the river looking towards mountains.[Silver printing-out paper, 103x75mm]. View along the River Ravi, running between steep wooded hills at Trehta. View along the River Sutlej, with houses and terraced fields rising from the banks. A late print (1890s) of a Bourne photograph. View along the river towards a ravine. View along the river towards mountains. Faded print. View along the river towards the bridge, with boats moored along the bank on the left. Caption note continues: 'Ascending the Jhelum, near its source, this bridge is met with; above this the river is not navigable. On reaching this point, travellers entering Cashmere by the Bhimbur route, take boat, and accomplish the rest of their journey by water.' View along the river towards thebridge.[Gelatin silver print, 131x80mm]. View along the river towards the stone bridge, with the Agency buildings to the right, largely obscured by trees. The dzong can be seen in the distance on the left. View along the river valley, with chortens in the foreground. View along the river valley.[Gelatin silver print, 141x92mm]. View along the river valley. View along the river valley. View along the river valley. View along the river valley (the right tributary of the Rainak). View along the river valley towards distant peaks. View along the river valley towards mountains. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 291x436mm]. View along the river valley towards mountains. View along the river valley towards mountains. View along the river valley towards the mountains. View along the river with a distant view of the bridge. View along the road, looking towards mountains. River Jhelum at left. View along the road, with fields to the left. View along the road, with lorry emerging from the gorge. View along the road, with man and mules posed in foreground. View along the road through heavy forest. View along the road through the gorge. (Ancient Persis Map B1). View along the Rupel river valley towards Nanga Parbat.[Silver printing-out paper, 121x97mm]. View along the Salween, with heavily-forested hills rising on either bank, and camp in foreground. Me Nyin Sang note traced in Scott's Gazetteer. View along the Salween at (?)Takaw. View along the seashore at Varkala. View along the Simla-Narkanda road, with a man with pack donkeys posed in foreground.[Silver printing-out paper, 210x152mm]. View along the Sind River valley. In the middle distance a line of men are negotiating the snow field acros the path which follows the line of the river. Uncredited, but probably a photograph taken by Sella during the Duke of Abruzzi's 1909 Karakoram Expedition.[Silver printing-out paper, 197x238mm]. View along the Sind Valley, looking towards mountains. Print in poorish condition, with tears and folds at edges.[Silver printing-out paper, 215x287mm]. View along the southern portion of the Chumbi Valley. View along the steep-sided nullah. View along the steep-sided river valley. View along the steep-sided Tsangpo Valley. View along the street, with a group of hawkers in the left foreground. 'Leaving the shore, and proceeding towards the City, we come to merchant Street. This street, from its proximity to the Palace, has been taken up by the principal merchants, and has thus received the designation of 'Merchant Street' or 'Foreign Quarter.' Here reside all nationalities, but chiefly Jews and Armenians; the buildings approach nearer to a European type, of which the house in the foreground is one of the best.' View along the street, with a parade in progress. Collotype reproduction. View along the street leading up to the palace. View along the Tang-ab Gorge. (Ancient Persis Map, A3). View along the terrace towards the lakeside pavilion. View along the Tista River, with wooded hillside rising steeply from each bank. View along the Tista River Valley. View along the tree-lined avenue. View along the Tsangpo at Chukoryantse. 'About half way on our march we passed the beautiful Gompa of Chukoryantse where a rugged spur runs right down to the water. The Gompa is tucked into a recess in the hills with a beautiful small park-like enclosure of trees between it and the river. There 2 or 3 fascinating oriental archways in the shape of a 'Chorten' to ride through. (Lhasa Mission Diary, 22 August 1936).[Gelatin silver print, 141x92mm]. View along the valley, with a winding road in the foreground. Duplicate at Photo 430/3 (80). Second copy neg at B.7560. View along the valley, with riders in foreground. View along the valley, with the houses of Chumbi in the foreground. View along the valley, with the Paro Chu on the right. View along the valley. Duplicate at Photo 481/1 (43). View along the valley. View along the valley. View along the valley towards mountains, Kangra area. View along the valley towards mountains, with men and pack animals on the road in the foreground.[Signed 'Holmes 180' in the negative, 242x291mm]. View along the valley towards mountains. Duplicate negative, no print. View along the valley towards mountains. View along the valley towards mountains beyond. Caption note continues: 'This dreary spot is occupied, during the less severe season, by a horde of Bhotias, - a tribe of Ladac, who live by herding cattle. Their habitation is composed of a blanket supported by sticks, under which they live huddled together, gipsy fashion, for the sake of warmth. The approach of winter drives them to the nearest town. On the left appear the white tents of our party.' View along the valley towards mountains View along the valley towards the levy post. View along the valley towards the peak. Duplicate negative, no print. View along the valley towards the village. View along the waterfront, with Chinese fishing nets at the water's edge.[Gelatin silver print, 98x78 mm]. View along the waterfront at Suez, with railway sidings in the foreground. View along the waterfront looking towards the time-ball tower. View along the wooded valledy from the camp at Tsahuden. View along the Yangtze Gorges, with junks (distant) under sail. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 104, there titled, 'The Yang-tsze: the one great outlet for the exports of Ssuch'uan.' View along Tigris towards bridge. View along tree-lined walk.[77x103mm]. View along unidentified river (probably the Salween) towards the bridge. View along unsurfaced road towards the snow-covered peak. View along valley, framed by foreground trees. View along valley, with Kirghiz felt tents in foreground. Innermost Asia, vol. 2, fig. 379: 'Kirghiz camp at head of Bash-gumbaz Valley.' View along valley. View along valley. View along valley. The woman seated on the rock inthe foreground is identified as Hermione, ie Lady Hermione Lytton. View along valley from hillside. Duplicate at Photo 481/1 (42). View along valley looking towards Daraut-kurghan. View along valley towards glacier. View along valley towards hills.[139x82mm]. View along valley towards hills. View along valley towards mountain peaks. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 274, there titled, 'Kashmir in autumn.' View along valley towards mountain peaks. View along valley towards mountains, with tents pitched in foreground. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 59, there titled, 'Camp at Sesko'. Another copy at Photo 364/2(19). View along valley towards mountains.[?Platinum print, 147x103mm]. View along valley towards mountains.[Silver printing-out paper, 119x96mm]. View along valley towards mountains. View along valley towards mountains. View along valley towards mountains. View along valley towards Nandana Fort. Archaeological Reconnaissances, fig. 2: 'Stronghold of Nandana, seen from valley below Baghanwala.' View along valley towards snowy peaks. View along wall towards stone pier, at the north-west end of Siah-damb. Gedrosia, fig. 49. View along waterfront. View along wooded Fulaldaru Valley, with Srikanta Peak in distance View along wooded valley towards mountains.[Gelatin silver print, 283x224mm]. View among the trees looking towards the summer house seen in print 55. View aong the gorge. The scene here is well-described by Stein: 'Beyond the rocky hill crowned by the Suntsar watch-post, the western extremity of the Sajidi range breaks up into a confused cluster of small serrated ridges and plateaus extending along the left bank of the Dasht river. we crossed the deeply scoured bed of the Sajidi-kaur which drains a considerable portion of the southern slopes of the range and here has cut its way to the river...' (Gedrosia, p. 60). View a river winding through a gorge. View at Ajmer. View at base of hill, with cattle and cowherd in foreground. Hunt's additional note reads: 'A few seconds after I took this snapshot the panther snarled. He is somewhere quite close, and would show in the photo if you knew where he was.' Poor quality print.[Gelatin silver print, 136x80mm]. View at dusk. View at dusk with boats in the foreground. View at entrance to Dal Lake, with boats moored in foreground. View at Marala Weir with two women in the foreground. View at Nuwara Eliya, looking towards the lake, with Hagala peak beyond.[Albumen print, 276x218mm]. View at Nuwara Eliya, with a tea plantation in the foreground. View at or near Srinagar? View at Renwal? View at sunset (hand-coloured) looking across a lake or river towards palm trees in the distance. View at Thanin. View at the burning ghats? View at the company jetty near the jute pressing works on the Hugli. With company lighters drawn up near the jetty and a European figure seated on the cabin roof of a bauleah drawn up at the water's edge. View at the edge of the lake. View at the head of the pass, looking towards Yomdrok Tso.[Gelatin silver print, 140x92mm]. View at the head of the pass, with prayer flags strung across path.[Gelatin silver print, 141x92mm]. View at the Marble Rocks. View at the Peak Tramway station, with frost on the ground and iciles hangings from railings.[Albumen print, 275x206mm]. View at the top of the snow-covered hill overlooking the northern approach to the city, with a cairn and a flag marking the grave of Captain Spens. View at the top of the snow-covered pass. View at the water's edge of a rocky coastline in winter. View at Yaru, looking towards mountains. View at Yercaud looking across a landscape of cultivated fields towards hills. With a small village of circular thatched houses in the foreground. This is presumably the print listed in the Nicholas & Co. catalogue as 'Valley below Pagoda Point showing a Malayalie village'. View at Ziarat, looking across the valley towards the settlement. View down onto and along the curving bridge. With a locomotive on the line. See Photo 383/2 (24) for a similar view taken at a slightly earlier stage of construction. View down the Kanserwarai Pass, with four figures posed in foreground. View down the line, with train approaching. View down the valley, with coud-covered peaks in the distance. Viewed from the opposite bank of a river. Viewed from the opposite bank of a river with local craft in the centre. View following line of wall along ridge. View fom the northern end of the Maota Lake, looking towards Amber Palace (Raj Mahal), with the Jaigarh Fort on the skyline beyond. View form the pier looking landwards across the enclosed harbour. View framed by the arch of a bridge. View from 3000 feet. View from a boat, looking along the pier towards the crowds on shore and bathing in the river. Possibly photographed at the Allahabad Kumbh Mela.[Albumen print, 156x108mm]. View from a boat. View from a boat. View from above, looking down onto the bridge over the Chitral River. View from above, looking down onto the reversing station. View from above, looking down onto the town, perched on steep hillside, with terrace cultivation below and mountains in the background. The sanctuary tower of the Manimaheshvara Temple can be seen in the middleground. View from above, looking over the bazaar and along the ridge.[Albumen print, signed 'R.H. 101' in the negative, 225x178mm]. View from above looking down into the river gorge. Innermost Asia, vol. 2, fig. 370: 'View down Bartang Gorge near Nusur, Roshan.' View from above looking down onto part of the cantonment. View from above looking down onto riverbed. View from above looking down onto the confluence of the two rivers. View from above looking over the rooftops of the city from the Meherangarh Fort. Original and duplicate negatives only, no print. View from above Rumeli Hisari looking down towards the Bosphorus, with the upper walls of the Fortress of Europe in the middleground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x200mm]. View from above the river looking down onto the power station. View from above the town, looking north-westwards along the lake.[Silver printing-out paper, 196x143mm]. View from above the town, looking towards mountains. View from above the town looking along the lake.[Sepia toned print, 132x75mm]. View from above the town looking northwards along the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 252x200mm]. View from above the tunnel seen in print 31 looking back along the canal. Duplicate (later print) at Photo 792 (1254). View from a bridge over the Jhelum at Srinagar, looking along the riverbank. The shops on the left hand side are identified in a pencillec note beneath the print as belonging to Habib Joo (State jeweller and wood carver), Subhana (jeweller and silversmith), Ahmed Joo (coppersmith and wood carver), Jubbar Khan (papier mach� maker and wood carver). The print is in poor condition, with three vertical tears, and was originally joined to print 6 to form a single panorama view of both banks of the river. View from a car looking along a stretch of road. View from across the Salween. View from a fortified position at the summit of the Sher Darwaza Heights which overlook Kabul from the south, looking along the wall built along the ridge towards other blockhouses. Print marked 'Confidential'. View from a height, looking down onto the falls. View from a height looking down onto and along the river gorge. View from a high vantage looking down on the town. View from a hillside, in Uskudar, on the Asiatic side looking northwards along the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 249x201mm]. View from a hillside, looking along the wooded valley towards the mountains. View from a hillside, looking down onto estate buildings and drying grounds, with newly-cleared forest in the background.[Albumen print, 191x136mm]. View from a hillside above the river, with a small pagoda in the foreground. Probably at Tigyaing on the Irrawaddy a few miles south of its junction with the Shweli. Second copy neg at B.25655. View from a hillside at Anadolu Kavagi, looking northwards towards the Black Sea.[Albumen print, signed 'Abdullah Fr�res' in the negative, 251x199mm]. View from a hillside looking down onto the entrance to the bay, with a jetty in the foreground. Prints 33-35 form a three-part panorama of the bay. View from a hillside looking down onto the road which follows the course of a river. Precise location unidentified, possibly between Mong Pan and Taunggyi. View from a hillside looking south along the Bosphorus towards Rumeli Hisari.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View from a hillside path looking down onto an unspecified village on the bank of the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x202mm]. View from a kutnau (mussock raft) looking towards huts on the riverbank. View from a lakeside road. View from Anadolu Hisari looking across the Bosphorus towards Rumeli Hisari and the Fortress of Europe.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View from a neighbouring hill looking down onto the tank and across to the hill on whose summit can be seen the massive Jain Gommateshvara image. Caption notes read: 'On this hill, named Indra Betta, rising about 400 feet above the village below, is the colossal statue of Gomatesvara, 57 feet in height, surrounded by sacred buildings. An inscription at the foot of the image shows it was erected by Chamunda Roya, probably in 983. In the valley below is the splendid stone tank shown in the picture. Sravana Belgola is the chief seat of the Jain sect in Mysore and home of their principal guru.' View from a neighbouring hillside, looking down onto a large military encampment. Duplicate at Photo 297/3(18).[Signed 'Holmes 3' in the negative, 289x236mm]. View from a neighbouring hillside looking over the lake, with paddy fields on the water's edge in the foreground. The spelling is given as Velli Lake on the map accompanying E.G. Hatch's Travancore. A guide book for the visitor (1933). View from an elevated position, looking across the wooded plateau, towards Mount Ararat in the distance. Annotations on the left of the print read: 'Elevations:- Erivan 3229 feet. Plain beyond (at foot of Ararat) 2700-2800 feet. Summit of Ararat c.17,000 ft.'. Published: H. F. B. Lynch, 'Armenia. Travels and studies' (2 vols., 1901), vol. 1, fig. 42, captioned, 'Erivan and Ararat from the north.' View from an elevated position, looking along a street and over rooftops. View from an elevated position, looking down onto and along the street, with market traders' stalls running along the centre of the road. View from an elevated position, looking down onto Machang Ga Kawnan and Tingsa (also given on map as Machang Ga).[Gelatin silver print, 131x81mm]. View from an elevated position, looking down onto the highway, with Mount Kazbek in the background.[Albumen print, 278x217mm]. View from an elevated position, looking over the site. View from an elevated position (probably one of the minarets of the Jami Masjid) looking across rooftops. Small snapshot. View from an elevated position looking down onto the road leading towards the plain.[Signed 'Mela Ram No. 87' in the negative, 273x214mm]. View from an elevated position looking over the fort towards the Khyber Pass.[99x71mm]. View from an oasis. View from an upper storey, with palace gardens in foreground. Caption notes read: 'The view shown is a portion of old Mysore with the west gate of the fort in the distance. The street in the centre has been named 'Lukshmi Vilasa' in honor of the bride of H.H. the Maharaja.' Duplicate at Photo 2/9 (13). View from an upper storey looking along a street. View from an upper storey of the chateau, looking down onto two rows of huts.[Silver printing-out paper, 204x150mm]. View from a pavilion. View from a pier, looking towards the ship at anchor.[Printing-out paper, 146x101mm]. View from a pool, with cliffs on the right and a rail bridge on the left. View from a ridge looking across a deep valley. Soldiers from a Scottish regiment grouped at left. View from a road looking through trees towards the distant bridge. View from a rocky elevation looking towards the plains and a river in the distance. Duplicate at Photo 297/3(6).[Signed 'Holmes 37' in the negative, 292x241mm]. View from a rooftop, probably taken during a religious festival. View from a similar location to prints 11 and 12, looking along the length of No. 1 Dock towards the river, but taken at an earlier date. The dock itself is largely completed and the swing bridge to the tide basin in place, but no warehouses have been built and the dock is empty of shipping. View from a similar position to print 89 (?from the British Residency), looking down onto the lake and showing the marble pavilions lining the bund. With the city of Ajmer and Taragarh Hill beyond visible in the distance. View from a slightly higher position, looking down onto the rock-cut sculpture, with three figures (?one European) standing near its base. Printed from a broken negative. Caption note continues: 'The colossal figure of the four-armed goddess Moolva here represented, is carved in solid rock, and is 30 feet in height. Pilgrims worship the feet of the image, which are within the the small surrounding building.' View from balcony looking towards mountains. View from bank looking towards piers under construction[Albumen print, captioned in the negative, 274x207mm]. View from base camp looking towards the peak. Print in very poor condition, rolled, with folds and tears.[Green toned (?)carbon print, 446x338mm]. View from below, loking along east face of site, showing walls of ruined dwellings. Gedrosia, fig. 50. View from below, looking up the hillside towards Christ Church (rather faded in this print), with the Assembly Rooms in the centre foreground. View from below, looking up the wooded hillside towards the hotel. View from below, looking up towards collapsed walls. View from below, looking up towards the dzong. View from below, showing a girder span being seated onto the masonry piers of the bridge, with supporting scaffolding in place and workmen on the bank hauling chains.[Albumen print, 289x229mm]. View from below. Duplicate at Photo 383/2 (30). View from below looking up towards the fort on the ridge. View from below the dam, showing water percolating through. View from beneath bridge, with annotations in the negative indicating old span being dismantled and new span erected off centre line and carrying the track.[Gelatin printing-out paper, 138x81mm]. View from Bimaru, looking across the plain towards the mountains. Another copy at Photo 449/1 (32). View from Borobudur looking towards distant mountains, with one of the stupas of the temple in the foreground.[Gelatin silver print, 139x89mm]. View from bungalow looking across garden towards hills. Joins with print 3 to form a panoramic view. View from camp looking towards the pass. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 402, there captioned, 'Camp - Bun-i-Kotal-i-Kilik (looking towards Hunza)': 'On May 6th the party marched eight miles to the foot of the Kilik Pass (Buni-i-Kotal) and encamped on bleak ground, under snow at an elevation of 14,600 feet.'[Albumen print, 200x147mm]. View from camp looking upstream towards distant mountains.[77x97mm]. View from campsite looking towards mountains.[Gelatin silver print, 82x133mm]. View from camp towards mountains. View from centre of roundabout, with water pump in foreground. View from Chamundi Hill View from Chota Simla. View from Chowpatty looking south along Back Bay towards Malabar Point. View from Colaba looking north along the causeway, with the Afghan Memorial Church in the middle distance and Back Bay and the Fort area of the city beyond.[Albumen print, numbered '2216' in the negative, 315x191mm]. View from downstream looking towards sluices.[Printing-out paper, 369x287mm]. View from downstream looking towards the bridge. View from downstream showing falls and rapids. See note at print 5. View from Eyup, looking towards the mouth of the Golden Horn. With the Imperial Military Veterinary School in the left foreground.[Albumen print, 379x307mm]. View from ferry, looking down onto passengers disembarking.[99x70mm]. View from Galata, looking across the Golden Horn towards the Suleymaniye Mosque, with the Beyazit Tower to the left.[Albumen print, 380x299mm]. View from Galata, looking along the Golden Horn towards the Naval Arsenal.[Albumen print, 378x306mm]. View from Galata, looking southwards across the mouth of the Golden Horn, towards the Topkapi Palace and Gulhane Park on the far side.[Albumen print, 377x308mm]. View from gallery of Qutb Minar, looking down onto bungalow and garden. View from gallery of Qutb Minar. View from garden, building partially obscured by trees. View from garden. The house is largely obscured by trees. View from ghat at water's edge looking towards the Howrah Bridge, with figures bathing in the foreground. Original negative and modern copy print at Photo 527/2 (23). View from ghat looking across lake.[Albumen print, 155x106mm]. View from harbour. Small snapshot. View from harbour looking towards the town. View from head of dam, with water level almost at top. View from high up on the hillside looking along the river valley. View from hills above looking down onto the Yigrong Chu below the lake. View from hillside, looking down onto the confluence of the two rivers, partially hidden by hill. Pencilled captioned to right of print reads: '3. Dri-Matu junction looking [one word illegible] the ends in an extraordinary loop round hill. Actual junction place on right of picture.' The Dri is presumably the river in the foreground. Another copy of this print is at Mss Eur F157/484 (53). View from hillside, looking down onto the Residency. View from hillside, looking down onto village. View from hillside about the Thakur Sahib's house. View from hillside above, looking down onto monastery buildings. 'Today we visited Sera Monastery...' (Lhasa Mission Diary, 18 October 1936).[Gelatin silver print, 152x102mm]. View from hillside above, looking down onto the camp, which is surrounded by a stockade of sharpened stakes. Reproduced in No Passport to Tibet, p. 48. Another copy at Mss Eur F157/484 (113). View from hillside above, looking down onto the camp, which is surrounded by a stockade of sharpened stakes. Reproduced in No Passport to Tibet, p. 48. Duplicate of Mss Eur F157/72. View from hillside above the track, showing a train on the line. View from hillside looking along the length of the lake. View from hillside looking down onto (?)fort area.[?Gelatin developing-out paper, 208x160mm]. View from hillside looking down onto a group of thatched houses. This is probably the military station mentioned in Scott's 'Gazetteer of Upper Burma and the Shan States': 'Near Kon-ni, on the Hsa Mong Hkam side of the boundary, there was established in 1888 a station for British troops which it was hoped might prove a sanitarium. It turned out on the contrary extremely unhealthy both for the men of the Rifle Brigade, who first occupied it, and later for the sepoys of a Madras Regiment. It was therefore abandoned in 1889.' A faded print.Scott was at Kon-ni in July and early August 1889, and his diary contains a number of references to photographs taken during this period: 'In evg. developed photos. Three of them will do I think' (26 July); 'Took photos from hills to west' (1 August); 'Took a couple more photos in the early morning' (2 August).[Albumen print, 179x115mm]. View from hillside looking down onto camp.[Gelatin silver print, 77x54mm]. View from hillside looking down onto coffee drying grounds, set in thick forest.[Albumen print, 158x137mm]. View from hillside looking down onto excavation work in progress. Archaeological Reconnaissances, fig. 23: 'Knoll, Dam. I, with remains of dwellings, Damba-koh.' View from hillside looking down onto fort remains. Cropped version of central area at Innermost Asia, vol. 1, fig. 16: 'Remains of Lohilo-kot, below Poguch, Darel.' (I.A. Map A). View from hillside looking down onto lake.[Gelatin silver print, 141x92mm]. View from hillside looking down onto line and towards the entrance to the tunnel, built like a castle, with crenellations and two towers. View from hillside looking down onto river and along valley. View from hillside looking down onto ruins, with Swat Valley beyond. View from hillside looking down onto ruins. View from hillside looking down onto tanks. (Ancient Persis Map C2). View from hillside looking down onto tents. View from hillside looking down onto the bridge. View from hillside looking down onto the camp.[Silver printing-out paper, 119x174mm]. View from hillside looking down onto the confluence of the two rivers. View from hillside looking down onto the Indus, with a distant view of the Hindu temple known as Kanjari-Kothi (see note at Photo 392/18 (4)). View from hillside looking down onto the lake, forming the left half of a panoramic view (see continuation at print 2079a). View from hillside looking down onto the lake, forming the right half of a panoramic view (continuation of print 2079). View from hillside looking down onto the racecourse.[Albumen print, 288x190mm.] View from hillside looking down onto the river. View from hillside looking down onto the valley. View from hillside looking down onto town and bazaar. View from hillside looking towards mist-covered hills, with group of pack horses in foreground. View from inside, looking towards the mouth of the cave, into which sunlight is streaming. Photograph probably taken in the Andaman Islands by M.V. Portman. View from inside Fort William, looking across the buildings of the fort towards shipping moored on the Hugli. The High Court can be seen on the skyline in the right background. Photograph reproduced in Montague Massey, 'Recollections of Calcutta for over half a century' (Calcutta, 1918), and there credited to Johnston & Hoffmann. View from inside the harbour, looking towards the two 'Titan' gantry cranes at work on either side of the old harbour entrance. View from Mandalay Hill looking down onto the city. View from Mangal Devi tank. Archaeological Reconnaissances, fig. 4: 'Mouth of Kandar Kas, seen from below Mangal Dev shrine.' View from meadow, looking over trees towards ridge. View from Mettupalaiyam looking towards the Nilgiri Hills. View from Mhow Arsenal gate. Another copy at Photo 2/4 (96). View from mound looking down onto excavations. View from mountainside, looking down onto Kalimpong. View from mountainside, looking down onto lake.[Silver printing-out paper, 112x152mm]. View from mountainside looking across valley towards glacier and peaks. Reproduced in Filippo de Filippi, 'Karakoram and Western Himalaya 1909' (London, 1912), facing p. 200, there captioned 'Sunset. Taken from the rocks above Rdokass.'[?Matt collodion printing-out paper, 242x192mm]. View from Nauroz-kalat, 'the only permanently inhabited place in the north-eastern portion of Kharan territory' (p. 21) across plain towards mountain. View from near the summit, looking along the sheer drop of the face of Khalifat peak in the Brahui Range.[Gelatin silver print, 156x216mm]. View from neighbouring hill looking down onto the camp.[Platinum print, 285x238mm]. View from neighbouring hillside, looking down onto line and inclines constructed during the building of the Khojak Tunnel. View from neighbouring hillside, with River Beas beyond. View from neighbouring hillside looking across valley towards camp.[Printing-out paper, 151x113mm]. View from neighbouring hillside looking down onto camp beside river. View from neighbouring hillside looking down onto the bridge across the Jhelum, with the junction with the Kishenganja in the left background.[Silver printing-out paper, 239x175mm]. View from neighbouring hillside looking down onto the bund. View from neightbouring hills looking down onto line under construction. View from north-east looking across the Kandar Nullah, with domed tomb of Saiyid Haidar Shah visible on the skyline. Archaeological Reconnaissances, fig. 3: 'Jalalpur town, seen from east across bed of Kandar Kas.' View from one of the Ramgarhiya Minars. View from opposite bank of river. View from Ortak�y looking southwards along the Bosphorus towards Seraglio Point and the entrance to the Golden Horn, with the Sea of Marmara in the far distance. The Mecidiye Mosque can be seen in the left foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x200mm]. View from parade ground. View from river bed looking up to distant mountains. Typescript notes read: 'Taken shortly before we arrived at our camp below Kallan Falls'. View from road looking along Bhagirathi River. View from road looking towards a waterfall in the Palni Hills.[Gelatin silver print,78 X 98 mm]. View from scrub-covered hillside, looking down onto the river. View from Scutari looking across the Bosphorus towards Istanbul. With sailing ships and steamers moored in the foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x198mm]. View from shore, looking out along the railway pier towards shipping at anchor in the roadstead beyond. Carte de visite size print. View from side of line, with train approaching. View from site looking towards village. View from spur, looking out over plains below. (Ancient Persis Map, B3). View from Stein's camp looking towards the hills. View from street towards unidentified building. View from summit, with climb arrowed at left. View from summit of mound looking down into eroded ravine. Archaeological Tour in Waziristan, fig. 16. View from temple looking towards perimeter wall and countryside beyond, with chorten in foreground. View from tennis court looking towards the spire of a church largely obscured by trees. View from terrace looking towards hills.[Gelatin silver print, 86x96mm]. View from the 'Throne of Solomon', a few miles outside Srinagar, looking south-west over a large ox-bow curve in the River Jhelum below. Stereoscopic pair. View from the balcony of the Telegraph Office looking across Dalhousie Square and Tank towards the Post Office. With a portion of the Dalhousie Institute in the foreground. Stereoscopic pair. View from the bank. The elephants are boarding barge B.R. No. 2. View from the bank looking along the river. A European man stands beside a camera on a tripod on the boat moored in the foreground. View from the bank looking down onto a paddle-driven river launch (slightly distant).[Printing-out paper, 96x73mm]. View from the bank looking towards the bridge, with labourers shifting earth in the foreground.[Gelatin silver print, 244x192mm]. View from the bank looking towards thew bridge of boats. View from the bank of canoe ferrying passengers across the river. The canoe is actually made from bamboo lengths lashed together rather than being a dugout. View from the bank of the Jatinga River looking up towards the mouth of the tunnel. The tunnel is situated mid-way between Damchara and Harangajao stations. View from the Bathing Ghat, looking along the bank of the Hugli.[Albumen print, 165x105mm]. View from the boat looking towards shore.[99x73mm]. View from the Bosphorus, looking past the waterfront houses towards the Mosque on the hillside behind. Print in poorish condition, with overall spotting.[Albumen print, 373x305mm]. View from the Bosphorus, showing waterfront mansions (yalis), with the Fortress of Europe beyond.[Albumen print, signed 'Abdullah Fr�res' in the negative, 255x199mm]. View from the Bosphorus looking towards Kandilli.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x201mm]. View from the Bosphorus looking towards Rumeli Hisari and the Fortress of Europe.[Albumen print, signed 'Abdullah Fr�res' in the negative, 252x200mm]. View from the Bosphorus looking towards the Fortress of Asia.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x200mm]. View from the Bosphorus looking towards Tophane, with the Nusretiye Cami (Mosque) on the waterfront. On the left hand corner, partial view of the Kilic Ali Pasha Mosque, with the cannon foundry at the back, with five small domes. [Albumen print, signed 'Abdullah Fr�res' in the negative, 254x196mm]. View from the Bosphorus looking towards waterfront villas (yalis) at Bebek, near Istanbul.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. View from the Bosphorus of waterfront houses.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x193mm]. View from the bridge, looking along the Jhelum towards the Shah Hamadan Masjid, with Hari Parbat Hill and fort behind. Winter scene, with snow on the roofs.[Silver printing-out paper, 278x210mm]. View from the bridge looking over the gardens. View from the camp, looking along the valley of the Andra Chu, which flows into the Matun River from the north-west about three-quarters of a mile above Mipi. The pencilled caption beside the print reads: 'Looking up the Isa [or Isu]'. View from the campsite looking across valley towards cultivated fields. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 67, there captioned, 'Chitral (looking north).' The Mission was at Chitral from 11-18 September 1885 and again from early October to mid-November.[Albumen print, 279x212mm]. View from the courtyard of the Jami Masjid looking out over the city. View from the damb (mound), looking towards mountains. View from the dam end looking along the empty reservoir.[Albumen print, 289x224mm]. View from the entrance looking across the gardens towards a pavilion. View from the entrance looking into the gardens.[Albumen print, numbered '3732' in the negative, 266x203mm]. View from the fort, looking across the moat. View from the fort, looking across the outer walls to the plains below. View from the fort looking down onto the town. View from the Fortress of Europe looking down onto the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x202mm]. View from the fort walls. View from the Galata side, looking across the Golden Horn. Istanbul and the Unkapani Bridge from Azapkapi.[Albumen print, 378x307mm]. View from the garden. View from the Golden Horn looking towards the Imperial Ottoman Bank, with the Galata Tower on the skyline beyond.[Albumen print, 379x312mm]. View from the Grand Oriental Hotel looking out towards the shipping in the harbour. A triumphal arch erected on the landing jetty has a sign of welcome to 'His Royal Highness Prince [?]Henry of [?]Prussia'. Print unsigned, but probably by Skeen & Co. View from the hill, looking down onto cantonment buildings. View from the hill above Anadolu Hisari, looking down onto the Bosphorus, and across to Rumeli Hisari on the far bank. With a tower of the Fortress of Asia in the left foreground.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x200mm]. View from the hills above Rumeli Hisari, looking across the Bosphorus towards Anadolu Hisari.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x201mm]. View from the hills above Rumeli Hisari looking across the Bosphorus towards Anadolu Hisari.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View from the hillside above the Fortress of Europe, looking down onto the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View from the hillside behind, looking down onto the church, with wooded hills beyond and mountains in the distance. View from the hillside behind the town, looking south-west down onto Anadolu Kavagi and the Bosphorus beyond.[Albumen print, signed 'Abdullah Fr�res' in the negative, 260x200mm]. View from the hillside looking down onto the bridge. View from the hillside looking down onto the cemetery to the south of the Church of St John in the Wilderness.[Albumen print, signed 'Sach� 293' in the negative, 281x230mm]. View from the hillside looking down onto the line.[144x242mm]. View from the hillside looking down onto the military camp.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 293x225mm]. View from the hillside to the east of the town, looking down onto the Chowgan, with the Raja Sham Singh Hospital at the far end. View from the hill to the north-east of the Sherpur Cantonment, looking across the Kabul Valley, with ruined villages in the foreground. Duplicate (in better condition) at Photo 197 (37). View from the house looking across the garden, which is crossed by the carriage drive. The ADC's house is a single-storey bungalow on the right. [220x166mm]. View from the house looking across the terrace, with its avenue of poinsettias, towards the River Hugli and the villas on the farther bank. [285x234mm]. View from the Jami Masjid. View from the Jami Masjid (whose gateway can be seen at the extreme left), looking down onto the street. The is a lightly printed platinum print, with the following note written in red pencil on the back: 'I experimented with these small bits to save material. H.C.' See also following print. View from the lake looking towards the dam and countryside beyond.The masonry dam, built at the end of the 18th century, is 1000 feet long and decorated with chhatris along its length. Dhebar Lake is situated some thirty miles south-east of Udaipur. View from the land side looking seaward. View from the Liddar river. View from the lighthouse looking along the waterfront, with shipping at anchor, towards the start of the Suez Canal beyond. Probably a section of a larger panoramic view. View from the lighthouse looking northwards over the rooftops of Madras. View from the lighthouse looking over the town, with shipping at anchor at the left, and the start of the canal in the background. View from the lighthouse looking south along the beach towards Fort St George, with the spire of St Mary's Church on the skyline. Print unsigned, but probably by Nicholas & Co. View from the line, looking towards cascades of the river. View from the line, showing bullock carts waiting at the level crossing. View from the line looking down onto the plain below. View from the lodge. View from the mainland looking towards Heybeliada, one of the Princes Islands south-east of Istanbul.[Albumen print, signed 'Abdullah Fr�res' in the negative, 250x200mm]. View from the moraine of the Kaying Glacier looking up towards the head of the pass, with a figure (Doris Skrine?) in the foreground. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 272).[Gelatin silver print, mounted on card with typescript caption, 224x302mm]. View from the Mosque looking over the city. View from the mound. View from the mountainside, looking down the pass towards Landi Khana.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 288x223mm]. View from the mountainside looking down onto Landi Kotal.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 274x114mm]. View from the mouth of the cave looking along the seashore.[Gelatin silver print, 136 X 86 mm]. View from the mouth of the Golden Horn, looking towards the Galata Tower.[Albumen print, signed 'Abdullah Fr�res' in the negative, 247x199mm]. View from the neighbouring hillside looking down onto the line during the construction of the Khojak Tunnel, with the start of the incline at the extreme left of the print. Duplicate at Photo 481/2 (50). View from the north-west corner of the lake, looking down onto the Assembly Rooms, and across to the site of the great landslide of 1880 on the farther hill. View from the Ochterlony Monument, looking north-west towards Government House and the Town Hall, with the River Hugli in the distance. View from the Ochterlony Monument. View from the Ochterlony Monument looking eastwards, with the houses along Chowringhee Road in the foreground and the Sir Stuart Hogg Market visible beyond. View from the Ochterlony Monument looking towards Government House. In the distance the General Post Office can be seen with the dome still under construction. This dates the photograph to c.1867. View from the Ochterlony Monument looking towards the distant Fort. View from the old palace, with ghats in foreground. View from the opposite bank of the river. View from the opposite side of the valley. View from the pass along the valley. An indistinct, faded print. View from the pass looking down onto and along the lake. View from the pass looking towards the peak of Nochin Yangsang. View from the path looking towards the house, partly obscured by trees. (?)Photograph by Samuel Bourne.[Albumen print, 288x225mm]. View from the path looking towards the surrounding hills. View from the pavilion. Duplicate of Photo 430/45 (22). View from the Peak, looking down onto the city and harbour, with notes on the album page identifying the locations of sugar refineries and Magazine Gap Road.[Albumen print, 290x212mm]. View from the Peak looking down onto Victoria and the harbour beyond. View from the platform at Zigon railway station, looking along the line towards sacks of rice stacked beside the track. View from the Potala looking south-west towards Chakpori Hill.[Gelatin silver print, 92x141mm]. View from the railway line, looking down onto the Jatinga River. View from the railway line looking along the river. View from the Rajabai Tower looking south towards the harbour, with Watson's Hotel in the foreground and the Royal Alfred Sailors' Home on the other side of the green. View from the ramparts of the fort, looking along the moat.[Abumen print, 83x96mm]. View from the ramparts of the fort looking towards the royal tombs at Golconda, with the massive cannon standing in the foreground. View from the rear, with their drivers walking behind the animals. View from the rift of the plains below. View from the river, looking through an arch of the bridge.[102x76mm]. View from the river, with bodies being cremated on the ghat. View from the river bank. View from the riverbank. The boat (more of a raft constructed from lengths of bamboo lashed together) is being poled across the river by two Mishmis. The Gurkha policeman is squatting rather gingerly in the centre of the craft. View from the riverbank looking along the Eastern Bengal Railway bridge across the Garai River. The Garai is another name for the upper reaches of the Madhumati River, which leaves the Ganges near Kushtia in Bangladesh. View from the riverbank looking towards the fort and bridge. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 256. Photograph taken either July-August 1885 or between December 1885 and April 1886 (probably the latter).[Albumen print, 279x215mm]. View from the riverbank of the girder bridge across the Kiul River between Kiul and Luckeesarai in the Munger district of Bihar. With an elephant and a bullock cart in the foreground. View from the river bank showing the bridge underconstruction, with railway sidings and stores depot in the foreground. The bride and ancillary works were built between 1909 and 1915. For an illustrated account of its construction, see 'The Hardinge Bridge over the Lower Ganges at Sara' (Calcutta, 1915).[Printing-out paper, dated '27-5-13' in the negative, 292x141mm]. View from the river bed. View from the river looking towards the quayside at Beykoz, with a paddle steamer pulling away from the landing stage.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x202mm]. View from the river looking towards the shore.[Printing-out paper, 97x73mm]. View from the river looking towards the walls of the fort. The point of the breach, in the left background, is marked with a cross on the print. Print in poor condition, with some tears and staining from glue. Unsigned, but probably by Henry Dixon: compare Photo 1000 (2271a) which is an almost identical view, which appears to have been taken on the same occasion and is credited to Dixon.[Albumen print, in poor condition with glue staining, 244x150mm]. View from the road, looking along the river towards the fort which stands at the summit of a sheer rock face.[Albumen print, 263x200mm]. View from the road below, looking up towards the line, where a locomotive can be seen about to enter a tunnerl.[148x239mm]. View from the road looking towards mountains.[Silver printing-out paper, 100x76mm]. View from the roadside of a village scene, one of a series of views on this theme made by Samuel Bourne. A later print (1890s) of a Bourne photograph. View from the roof of a train coach. View from the roof of the High Court, looking eastwards across the Maidan towards Chowringhee, the Dhurrumtollah Tank and the Ochterlony Monument. Part of the Town Hall and Government House visible in left foreground. View from the same spot as Print 70. View from the same viewpoint after the floods. View from the Screw Pile Pier Works on the foreshore looking straight along the pier towards the roadstead where ships are at anchor. View from the sea. View from the sea. View from the sea looking towards the clocktower.[Silver printing-out paper, 212x154mm]. View from the sea looking towards the port. View from the sea of a village of a Nicobar village composed of houses similar to that seen in print 62. Slight camera shake. View from the ship looking towards shore. View from the shore, looking towards massive rocks in the bay.[Albumen print, 223x172mm]. View from the shore, with reclaimed land in the foreground, looking towards the suction dredger Madras at work. The dredger is pumping material via a pipeline. See also print 82. View from the signal station looking down towards Causeway Bay.[Albumen print, 269x204mm]. View from the south-east, looking down onto the town and lake. Oval image. View from the south end looking north. View from the south-west, looking towards the Fort, with the Jumna beyond. View from the street looking towards a group of people seated on the verandah of a house. 'At the time this picture was taken, the family were gathered to winess a double ceremony, viz., the entry of a son into the usual course of monastic discipline, and the piercing of a daughter's ears, both important events in the life of a Burman.' View from the street of the company premises, a two storey, flat-roofed building in classical style. The business was active as a jute-pressing concern in Cossipore from the early 1870s. View from the summit looking across the countryside, with massive boulders in the foreground. Actual inscriptions cannot be seen in this general view. View from the summit of Penang Hill, looking down onto George Town and across the channel towards the Malaysian mainland part of Pinang, then known as Province Wellesley. Jungle in foreground. A somewhat faded print. Photograph probably by Feilberg. View from the surrounding hills looking down onto the camp.[Printing-out paper, 151x112mm]. View from the Topkapi Palace (part of which can be seen in the foreground), looking across the Golden Horn towards the east shore. The Galata Tower can be seen in the distance on the left. With shipping in the harbour. View of the cannon foundry, the Kilic Ali Pasha Mosque and the Nusretiye Camii in Tophane, are visible on the right. The Cihangir Camii can also be seen, in the far distance, towards the right hand corner of the photograph.This photograph joins up with print 9 to form a panoramic view of the Golden Horn.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. View from the top of the lighthouse looking north-east towards the roadstead and the two piers which were later linked to form an enclosed harbour. View from the top of the Ochterlony Monument, looking north across the Maidan towards Government House. The Town Hall to the left of Government House and the High Court at extreme left of print. Probably a Bourne & Shepherd photograph. View from the top of the Ochterlony Monument looking down on Chowringhee. View from the top of the Ochterlony Monument looking eastwards towards Chowringhee Road, with the premises of Whiteway, Laidlaw & Co. in the centre of the print. Dhurrumtollah Mosque at extreme left. View from the top of the pass looking down onto the lake. View from the top of the plateau. View from the top of the Rajabai Tower looking eastwards towards the harbour. Junction of University Road and Esplanade Road in foreground, tower of St Thomas's Cathedral in middle distance. View from the top of the Tragbal Pass.[Silver printing-out paper, 120x96mm]. View from the town, looking directly up towards the fort. View from the Town Hall looking westwards across the Elphinstone Circle gardens towards St Thomas' Cathedral, after the completion of Horniman Circle. In the foreground, concealed by thatch to protect them against the monsoon rains, are the statues of Lord Cornwallis and the Marquess of Wellesley. Photograph unsigned, but probably by Bourne and Shepherd.[Albumen print, 311x184mm]. View from the train looking along the river gorge. View from the Uparkot with old cannons in the foreground. Prints 67-69 form a panoramic view of the city. View from the Upper Bala Hissar, looking down onto the palace and gardens, with the Kabul Valley beyond. Duplicate (in better condition) at Photo 197 (17). View from the upper storey of a building in Chowringhee Road looking northwards across the Maidan, with Mohondur Das's Tank in the foreground and the Ochterlony Monument beyond. With Government House and the High Court (extreme left of print) visible in the distance. View from the upper storey of a house looking down onto the small Park Street Post Office, with residential houses beyond. View from the verandah of the resthouse looking towards the Salween. Photograph probably taken on 4 January 1890, when Scott records in his diary: 'Took one of interior of zayat [see print 214], also view south.'[Albumen print, 238x191mm]. View from the village looking up towards the hill, with a gopura of the Ardhanarishvara Temple visible on the skyline. View from the water's edge, looking towards a group of coasting boats at their moorings.[Albumen print, 100x75mm]. View from the waterfront, with Ras-el-Tin Lighthouse in the background. View from the west bank looking across the Golden Horn towards the Arsenal, with the Galata Tower visible in the distance. On the left hand corner, on the opposite shore, distant view of the admiralty building and the naval hospital.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x201mm]. View from the wooded hillside looking down onto the church.[Albumen print, signed 'Sach� 594' in the negative, 283x228mm]. View from top of mound, looking down onto excavation work in progress. View from train looking towards island. View from Uskudar (Scutari) looking westwards across the Bosphorus towards the Dolmabahce Palace on the far shore. The German Embassy dominates the hillside behind and to the right. Next to the palace, on the shore, is the Dolmabahce Mosque.[Albumen print, 320x255mm]. View from valley floor looking towards summit. View from valley looking towards summit. View from verandah, looking across garden. View from Victoria looking towards shipping at anchore in the harbour. Handwritten notes on the album page identify the following landmarks: Stone Cutters Island, City Hall, Tai Mo Shan Hill.[Albumen print, 267x211mm]. View from Vindhyagiri Hill looking down onto the tank. View from Viper Island looking towards officers' accommodation. View from Zetland's camp. Duplicate of Photo 364/1 (40). View from Zetland's camp. Duplicate of Photo 364/1 (42). View in a forest at dawn. View in a garden. View in a garden. View in a mixed coffee and rubber plantation. View in a mixed coffee and rubber plantation. View in among the tree. Duplicate of Photo 1000 (4227). View in a quadrangle of the Jaipur Palace complex. View in a valley. View in a valley. View in a valley looking along a stream spanned by an irrigation channel.[Albumen print, 277x238mm]. View in a valley looking towards distant peaks. View in a village. 'Sowai's horse' standing on the left. View in a village. View in a village courtyard. View in Barakpur Park or another garden in or near Calcutta? View in Barakpur Park or another garden in or near Calcutta? The Hugli is visible on the left and a semaphore tower(?) on the right. View in Cubbon Park? View in formal garden, with figures posed in front of pool in foreground. No. 82 in Burke catalogue of Afghan War views. View in garden. View in hilly country, with camp and horses in foreground. View in Jahangir's garden? View in Mandalay Palace from the East Gate showing the Great Audience Hall on the right, the Hlutdaw on the left and a tower in the distance. See notes at Print 59. View in or near Calcutta? View in Shalimar Bagh. View inside the Farm Cave, some ten miles from Moulmein, with a number of small pagodas and Buddha images in the foreground.[Albumen print]. View inside the tunnel, showing use of timbering to support the sides of the tunnel. A similar view to Photo 481/3 (41), but with Indian rather than Welsh miners posed for the photographer. View in the Anaimali Hills, Coimbatore district. View in the bazaar, with crowd in foreground watching the photographer, and chinar tree beyond. (Ancient Persis Map C2). View in the bazaar, with Turkomen riding past on horses and camels. 'Turkmen invariably wear the black, white or brown sheepskin papakha, which is the mosty striking and distinctive form of headgear in Central Asia. It is worn all the year round.'[Gelatin silver print (modern print), 193x110mm]. View in the bazaar. View in the dockyard, with a starboard quarter view of Clive and Mayo berthed in the wet basin and dockyard buildings beyond. View in the Eden Gardens, looking across the stone bridge towards the pagoda brought back from Burma after the Second Burmese War. View in the garden of Charles Stotherd's bungalow. View in the garden of Samuel Swinton Jacob's bungalow. View in the garden of the bungalow of Samuel Swinton Jacob. View in the gardens, with the dome of the Taj Mahal in the background. View in the gardens. View in the gardens looking towards a pavilion. Described in Nicholas & Co's catalogue as 'Bangalore. No 12 View in the Lal Bagh'. View in the garden with a memorial on the right. View in the grounds. From east. View in the hills. View in the Jagdalak Defile, looking towardds a cave. View in the Jagdalak Defile. Duplicate at Photo 430/3 (83). View in the Jagdalak Defile. View in the Khyber Pass, showing the road clinging to the steep mountainside.[Captioned and signed 'Holmes 19' in the negative, 291x242mm]. View in the Khyber Pass? View in the Lal Bagh. Described in Nicholas & Co's catalogue as 'Bangalore. No 9 The Band Stand'. View in the Memorial Garden. View in the Nishat Bagh, Srinagar. View in the public gardens. Collotype reproduction. View in the Residency Graveyard, the tomb of General Neill (and others) at the left, Sir Henry Lawrence's at the right. See Photo 96/1 (12) for a view from a similar viewpoint taken a decade or so later. View in the Saheliyon-Ki-Bari (Garden of Ladies). View in the Sind Valley between Gund and Kulan View in the store yard showing piles of sleepers and other materials used in railway construction. Railway staff and Indian labourers are standing in the foreground. View in the town square with the bandstand, shops, library and Savoy Cafe. View in the valley. View in the Western Ghats View in the Zoji La Pass, with two porters standing on the left. View in the Zoji La Pass. View in valley. View in valley with peaks in the distance. View in valley with peaks in the distance. View in winter. View in woods in England? View linking up with print 24 to form a panoramic view.[Albumen print, numbered '3714' in the negative, 275x207mm]. View looking across a field towards a fort.[98x73mm]. View looking across a field towards the houses of the town. Bhimbar is in the Mirpur district, on the Kashmir-Punjab boundary. Caption note continues: 'The limit of the Maharajah's territory, where the traveller turns from the regions of the romantic and the beautiful, to the sober monotony of the Plains of Hindostan.' View looking across a flooded area towards a perimeter wall, with an ox cart on the flooded roadway.[Printing-out paper, 148x109mm]. View looking across a garden, with ornamental pool and statuary, towards a house.[Albumen print, 238x184mm]. View looking across a glacial valley towards mountains on the far side. View looking across a lake in the Botanical Gardens towards a stand of bamboos. Damaged print, with portion of emulsion missing.[Albumen print, 276x217mm]. View looking across a lake in the Norbu Lingka, where the Dalai Lama had a summer palace, towards a pavilion on the far side. View looking across a lake towards a camp. The nature of the camp is unclear; it may be part of a political mission or military exercise. View looking across a maidan towards a palace or fort. View looking across an area of open country towards distant hills. View looking across an open space towards tents and other permanent buildings. Bullocks carts, bystanders and a group of Indian soldiers in foreground. Probably a cantonment at an unidentified location. View looking across an ornamental lake towards buildings beyond.[Albumen print, 254x201mm]. View looking across an unidentified (?Mediterranean) harbour, with a fleet at anchor dressed overall.[Albumen print, 240x183mm]. View looking across an unidentified river at a crossing place, with a boat in the foreground.[Albumen print, 223 x 175 mm]. View looking across a plain towards distant hills. View looking across a river towards a Malay kampong on the Pinang mainland. Photograph probably by Feilberg. View looking across a river towards a tent pitched on the further side. View looking across a road to coconut trees beyond. View looking across a rocky scrubland towards the snow-capped mountain.[Gelatin silver print, 288x202mm]. View looking across a small lake towards the remains of a mound, purpose unidentified. See A.C.L. Carlleyle, Report of Tours in Gorakhpur, Saran, and Ghazipur in 1877-78-79 and 80 (A.S.I., vol. XXII, Calcutta, 1885), p. 46: 'I also visited the great mound at Naonadgarh, and made as searching an examination of it as possible. But when I visited it, it was so densely covered with thick jangal, especially on the top of it, that it was almost impossible to make one's way through it. A personal examination of this great mound has filled me with grave doubts as to whther it ever was a fort at all, as General Cunningham has supposed. That is to say, the conclusion which I have come to is that the original purpose of this great mound, when it was first constructed, was not that of a fort, but rather that of a great national monument...'Duplicate of Photo 1002 (32). View looking across a stretch of flooded land towards a pagoda spire and a monastery spire in the background. The caption note on the reverse of the print reads: 'Flooded land in Sagaing - carved five-tier spire of poongi-choung [ie monastery] in left distance surrounded by plantain trees. White pagoda in middle distance, ornament on top [sketch], supposed to be an umbrella, made of metal and jewelled, but often only with glass, it is called a 'tee' [hti], and no pagoda is finished without it, and they generally get tilted on one side very soon after they are put up, so this one must be very new.'[Gelatin developing-out paper, 154x110mm]. View looking across a tank towards the factory buildings. View looking across a tank towards the Shwe Dagon Pagoda. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.633. Photograph unsigned, but probably by J. Jackson. View looking across a valley to a distant hill with scattered houses. View looking across a valley towards snow-covered mountains. Caption given in Bourne & Shepherd catalogue as 'Snowy range, near Balayn Pass.' View looking across a village tank towards thatched houses. View looking across a wide river towards a large village set on the steep wooded hillside of the further bank. View looking across Back Bay. View looking across bathing tanks towards the (?)Rameshvara Temple. View looking across Beas river, with a thatched house in the foreground. View looking across Bimaru village and the plain, towards the mountains. Other copies at Photo 98 (26) and Photo 449/1 (15). View looking across causeway towards city gate. View looking across clearing towards a group of thatched houses.[80x55mm]. View looking across cloud-covered hills towards distant snowy ranges.[Albumen print, oval image, 183x136mm]. View looking across country. View looking across cultivated fields. (Ancient Persis Map C2). View looking across cultivated fields with grazing horses, towards wooded hills. View looking across cultivated land, with irrigation channel in foreground.[Printing-out paper, 291x211mm]. View looking across cultivated land towards Gilgit and the mountains beyond. Jutial is south of Gilgit.[Silver printing-out paper, 135x83mm]. View looking across cultivated valley towards mountains. View looking across desert towards the mountain, with a camel caravan in the foreground.[Gelatin silver print, 290x230mm]. View looking across field planted out with tea towards bungalow in middle distance. View looking across fields towards a cluster of pagodas. View looking across fields towards a hill. View looking across fields towards distant buildings. View looking across fields towards distant houses.[100x77mm]. View looking across fields towards hills.[Platinum print, 101x78mm]. View looking across fields towards mountains beyond.[Gelatin silver print, 129x218mm]. View looking across fields towards the pagoda on a hill in the distance. View looking across fields towards unidentified building.[100x78mm]. View looking across fields under rice cultivation, with hills beyond. View looking across field towards Chinese houses, with mountains beyond. Probably photographed during Scott'sm 1891 vivist to Keng Hung. Mong Hai is presumably modern Menghai, a few miles to the west but still in Chinese territory. See note at Photo 92/2 (65). View looking across field towards hills. See part 287 (196) for a similar view, where the location is more specifically identified as Tse-tang. View looking across flooded area towards unidentified buildings. View looking across gardens towards the tombs. View looking across garden towards bungalow, with trees in blossom in foreground.[120x83mm]. View looking across hills, with a group of bungalows in the foreground.[Sepia-toned print, 300x210mm]. View looking across hillside under tarrace cultivation towards the town. View looking across houses and fields. (Ancient Persis Map C2). View looking acrossing the valley towards the houses of the village, with hills beyond. A contrasty print. Caption note continues: 'The first inhabited spot after a long continued stretch of desolate country. Even here human toil can, with difficulty, obtain a scanty sustenance. No tree is seen, save here and there a solitary birch. In the background there appears a Buddhist Shrine or Temple.' View looking across intervening hills towards the Himalayas.[Albumen print, signed 'Sach� 604' in the negative, 285x234mm]. View looking across Karachi Harbour, with local craft under sail and at anchor. View looking across lake. Very poor quality. View looking across Lake Lucerne.[Printing-out paper, 219x164mm]. View looking across lake surrounded by dense forest. Prints 1572-75 in the Bourne & Shepherd catalogue are views of this lake, with the following catalogue note: 'View of 'Dodee Tal', a beautiful little Lake east of Jumnootri, and 12 miles north of the village of Agora, situated near the foot of the Jumnootri Peaks; on account of the difficulty of access, this lake, to the present time, has been visited by few European travellers.'[Albumen print, signed 'Bourne 1575' in the negative, 309x187mm]. View looking across lake towards glacier. View looking across lake towards glacier and mountain peaks.[Printing-out paper, 178x118mm]. View looking across lake towards peak. View looking across lake towards residency grounds. View looking across lake towards wooded gardens. View looking across lake towards Yacht Club buildings. View looking across large walled enclosure, with distant view of mountains, View looking across lawn towards the lake. View looking across open ground towards a bungalow raised on stilts, with hills beyond. Ywataung is a little to the north of Sagaing and was the headquarters of the Mu Valley Railway.[Albumen print, 100x70mm]. View looking across open ground towards bungalows. The view links up with print 38 to form a panorama.[Albumen print, signed 'Townshend Phot.' in the negative, 277x212mm]. View looking across open ground towards hill. This presumably relates to Scott's diary note for 9 September: '[?]E.G. in with his estimates for the temporary post. Eventually arranged that he was to put up as much accommodation as possible for Rs. 150.' OIOC Mss Eur F278/4 f. 69).[Albumen print, 180x117mm]. View looking across open ground towards hills. Probably taken in December 1889.[Albumen print, 237x187mm]. View looking across open ground towards military buildings. The photograph links up with print 36 to form a panorama.[Albumen print, signed 'Townshend Phot.' in the negative, 276x214mm]. View looking across open ground towards the Sonamarg Glacier. Inscribed in pencil on reverse: '780. Lovely meadows at Sonamarg.'[Albumen print, 275x211mm]. View looking across ornamental lily pool.229x166mm]. View looking across paddy fields towards a large pagoda at Ho-pong, a few miles east of Taunggyi. Mountains in the distance. Duplicate at Photo 163/3 (18). View looking across paddy fields towards a village.[Albumen print, 292x211mm]. View looking across plain towards an unidentified dzong.[Gelatin silver print, 141x92mm]. View looking across plain towards mountains, with camp in foreground. View looking across plain towards stream, with men and horses posed in middleground. (Ancient Persis Map C3). View looking across plain towards the holy mountain. View looking across platform towards shed, with sacks of produce awaiting shipment in the foreground. Annotations in the negative identify these as castor seed and chilis.[Silver printing-out paper, 141x81mm]. View looking across pool towards rock-cut sculpture of the triumph of Shahpur I over the Emperor Valerian. (Ancient Persis Map C3). View looking across railway lines towards a group of bungalows raised on stilts. The print was found loose in the album, but from the style of the bungalows, it probably shows a scene in Burma rather than India.[Albumen print, 233x187mm]. View looking across reservoir, with construction work in evidence in the foreground.[Albumen print, signed 'Townshend Phot.' in the negative, 277x213mm]. View looking across rice fields towards a house on a small hill.[Albumen print, 235x154mm]. View looking across rice fields towards buildings on a small hill.[Albumen print, 238x187mm]. View looking across rice paddy towards the city walls, with houses beyond and mountains in the distance. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 54). With French translation of caption on reverse of print.[Gelatin silver print, 290x197mm]. View looking across river or lake towards houses on far bank.[101x75mm]. View looking across river towards figures gathered at crossing point on far bank and pack animals (blurred) crossing the stream.[Albumen print, 18.7x23.9]. View looking across river towards house in distance.[Gelatin silver print, 111x76mm]. View looking across river towards house on farther bank. View looking across river towards house on hillside.[Silver printing-out paper, 200x143mm]. View looking across river towards the glacier. View looking across river towards the house. View looking across river towards the houses of the village. View looking across river towards unidentified ghat and buildings.[Albumen print, 240 x 172 mm]. View looking across river towards waterfall. View looking across road towards mound with a stone hut at its summit. View looking across rooftops towards the Flower Pagoda in the distance (see also print 42).[Albumen print, 290x225mm]. View looking across rooftops towards the Potala Palace in the distance. View looking across rooftops towards the sea.[Albumen print, 376x299mm]. View looking across rooftops towards the temple gopuras. View looking across swampy ground towards houses.[Albumen print, 239x188mm]. View looking across the aerodrome, with the town beyond and a mountain peak (the 'Old Lady' of the caption) rising through clouds beyond. View looking across the artificial lake towards the Baba Budan Mountains. View looking across the Balu stream towards the main street of Loikaw. Published: Sir George Scott, 'Among the Hill Tribes of Burma�An Ethnological Thicket' (National Geographic, vol. 41, no. 3, pp. 293-321, March 1922), p. 294, with caption note: 'Loikaw, the Headquarters of the Political Officer in Charge of the Karen-ni States: Burma. Loikaw is the only flat part of Karen-ni. Thirty years ago it numbered four huts. The headquarters of the American Baptist Mission to Hill Karens is located here. The bridges look flimsy, but are so substantial that elephants walk over them.' View looking across the basin towards the head works.[Printing-out paper, 358x287mm]. View looking across the bay, with the Quantung and Satara at anchor. Photograph probably by Hooper. Carbon print. View looking across the bay.[Printing-out paper, 153x110mm]. View looking across the bay at sunset. View looking across the bay to the distant town, four figures and a canoe in the foreground. View looking across the bay towards the landing jetty where the Viceroy Lord Mayo was killed in February 1872. Carbon print. Probably photographed by W.W. Hooper. View looking across the bay with shipping on the left. In the right foreground a man is climbing a palm. The print is wrongly identified as 'Bombay'. View looking across the Bosphorus from the Asiatic side, precise location unspecified.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x201mm]. View looking across the Bosphorus from the European bank, towards Kandilli, on the Asiatic side. With a Muslim cemetery in the foreground.[Albumen print, 256x202mm]. View looking across the Bosphorus from the European side towards the Fortress of Asia and the town of Anadolu Hisari.[Albumen print, 325x260mm]. View looking across the Bosphorus towards Rumeli Hisari, with the walls of the Fortress of Europe visible behind the town.[Albumen print, signed 'Abdullah Fr�res' in the negative, 252x199mm]. View looking across the Bosphorus towards Rumeli Hisari and the Fortress of Europe.[Albumen print, signed 'Abdullah Fr�res' in the negative, 252x198mm]. View looking across the Bosphorus towards Seraglio Point and the Topkapi Palace, with Haghia Sophia and the Blue Mosque visible on the skyline.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View looking across the bridge, busy with pedestrians and bullock carts. View looking across the bridge over the Chandra River towards the far bank: '...further on will be found a small photograph of a twig bridge in Spiti, similar to the one which His Excellency [Lord Elgin] found it so trying to cross near Koksur. Hitherto this twig bridge has been the only means of crossing the Chundra river - all merchandise had to be unloaded and carried over on men's backs, ponies had to swim the river, and were frequently carried away and drowned, and even sheep, crossing the twig bridge without their loads, frequently fell through into the river and were lost.' (Egerton, p. 7).The Chandra is one of the two main headwater streams of the Chenab. View looking across the bridge towards one of the entrance gateways to the city, with a busy crowd of pedestrians and carts on the thoroughfare. View looking across the bridge towards the minars of the Jami Masjid on the far bank.[Albumen print, 248x197mm]. View looking across the buildings of Chatham Dockyard towards the River Medway, with HMS Wellesley anchor in mid-stream. Upnor is visible on the other side of the river. View looking across the cantonment towards, in the distance, the white single storey hospital building with the Roman Catholic Church and convent beyond. Duplicate at Photo 481/2 (48). View looking across the cantonment towards distant hills.[Albumen print, 287x219mm]. View looking across the cemetery towards the mountain of Kuh-i-Suffa. View looking across the city towards Table Mountain. This print links with print 3 to form a panoramic view of the city. View looking across the city towards The Lion's Head. Table Bay at Left. This print links with print 6 to form a panoramic view of the city. View looking across the cornfield towards the village. View looking across the course towards the grandstand. View looking across the courtyard of the school, towards the main entrance gates. The gates leading up to Beyoglu. Photograph taken from the School building.[Albumen print, 305x380mm]. View looking across the courtyard towards the Bandstand. The big wheel can be seen in the distance. See map in Imre Kiralfy's The Empire of India Exhibition...1895 (London, 1895). View looking across the cricket ground towards the Cathedral, Butterfield and Swire's offices and City Hall (swathed in scaffolding), with Government House on the hillside behind (very distant). A sketch map on the album page identifies the relative location of these buildings. The building here identified as the offices of Butterfield and Swire were built in 1868 for the Amercian firm of Heard and Co. It later housed the Russian Consulate and the Frech Mission and today serves as the Court of Final Appeal.[Albumen print, 213x272mm]. View looking across the falls from the side. Reproduced in No Passport to Tibet, p. 137. View looking across the future Dalhousie Park towards the Shwe Dagon Pagoda on the skyline. Letterpress continues: 'Shwe Dagon in the distance'. View looking across the Ganges at Hardwar towards ghats and temples on the far bank. View looking across the Ganges towards the ghat. View looking across the garden (with formal beds newly-planted out) towards the reception tent. It is the beneath the awning of this tent that the group portrait at print 13 was taken. Dated '...2.74' in negative View looking across the garden of Ludlow's bungalow towards Gyantse Dzong, with two Tibetans seated in the foreground. View looking across the gardens from the pavilion. View looking across the garden to the entrance gate and monuments beyond. View looking across the garden towards the Golden Horn, with the Galata Tower and some mosques visible on the far shore. Parts of the towers of the city walls in view (print with overall spotting).[Albumen print, 304x380mm]. View looking across the garden towards the Irrawaddy.[100x72mm]. View looking across the glacier field towards mountains.[Gelatin silver print, mounted on card with typescript caption, 227x298mm]. View looking across the Gokteik gorge with construction work on the viaduct in the foreground.[Cyanotype, 204x160mm]. View looking across the Golden Horn, to the low range of buildings of the Veterinary School extending along the water's edge on the far bank. The Eyup graveyard, on the hills, in the background.[Albumen print, 381x308mm]. View looking across the Golden Horn, with part of the naval dockyard at the right, and the Anyalikavak Palace (largely obscured) on the waterfront beyond.[Albumen print, 323x261mm]. View looking across the Golden Horn, with the Galata Tower visible on the skyline in the distance.[Albumen print, 326x260mm]. View looking across the Golden Horn towards Galata, with the Galata Tower on the skyline.[Albumen print, 383x309mm]. View looking across the Golden Horn towards the dockyards of the Imperial Admiralty.[Albumen print, 325x261mm]. View looking across the Golden Horn towards the Naval Arsenal and the Naval Hopital.[Albumen print, 322x260mm]. View looking across the Golden Horn towards the Suleymaniye Mosque on the skyline, on the farther shore. Close to the shore, dome of the Rustem Pasha Mosque, is visible.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View looking across the Green from the Town Hall towards the Cathedral. Piles of sleepers appear to be stored in a compound on the Green. This probably relates to the construction of the Great Indian Peninsula Railway which commenced in the 1850s. The 'Railway Station' referred to in the caption may mean the GIPR's terminus in the Bori Bunder, for which the sleepers in this view could have been destined. The print forms the right half of a panorama with Print 18. View looking across the Green towards St Thomas' Cathedral. Duplicate at Photo 140 (2), there credited to Johnson & Henderson. A pencilled note beneath the print supplies a date of August 1858, and also reads 'From R.D. Peele Esqre.', but the photograph was probably taken in the previous year. View looking across the ground, with houses beyond and mountains in the distance.[Silver printing-out paper, 120x97mm]. View looking across the harbour, with a variety of craft at their moorings. Pencilled note on the mount in Temple's hand reads: 'Port Blair Harbour (outer view from Ross Island). In distance - Mt Haughton. Aberdeen Station in distance. South Point Station. This view has changed - the Female Jail being now situated a South Point. RCT. 25/5/96.' View looking across the harbour.[Albumen print, 142x88mm]. View looking across the harbour entrance to landwards. View looking across the harbour towards a four-masted, twin-funnelled ship at anchor. Print unsigned, but probably by Frith. View looking across the harbour towards the city and Peak. Handwritten notes on the album page identify the following landmarks: Victoria Gap Cable Tramway Terminus, Victoria Peak and Signal Station, Head Quarter House, Cathedral, Government House.[Albumen print, 275x216mm] View looking across the hills, largely hidden in mist, with an Indian and a European posed on the rock in the foreground. View looking across the hills, with a herd on wild cattle in the foreground.[Gelatin silver print, 290x196mm]. View looking across the houses of Darjeeling towards the Himalayas and Kanchenjunga. The photograph has not been precisely dated and may be a later print from a much earlier negative. View looking across the Hugli towards European villas on the farther bank; a small fishing canoe beached in forwground. View looking across the Husainabad Tank towards the Husainabad Gate (centre) and the uncompleted Sat Khande (right) on the farther side. The Jami Masjid can be seen on the skyline at the left. View looking across the Indus towards the fort.[Signed 'Holmes 371' in the negative, 285x231mm]. View looking across the interior of the fort towards the Ganges beyond.[?Collodion printing-out paper, folds down right-hand side, 214x151mm]. View looking across the Jamsetjee Bund. View looking across the Jhelum towards houses on the far bank.[Silver printing-out paper, 103x76mm]. View looking across the Kabul River towards the face of a hillside covered in caves. Basawal is situated on the Peshawar-Kabul road 10 miles from Loe Dakka. No. 70 in Burke catalogue of Afghan War views. View looking across the Karun River towards the palace in the distance. View looking across the Karun River towards villas on the far bank. View looking across the lagoon towards a substantial residence on the farther shore (possibly the palace of the Maharaja of Travancore?). See Photo 430/45 (37) for a closer view of the building. With a local boat (wallum) in the foreground. Print unsigned, but probably by D'Cruz. View looking across the lake, with a boat in the foreground.[Gelatin silver print, signed 'F.B.' in the negative, 287x229mm]. View looking across the lake. No. 1671 in the Bourne & Shepherd catalogue, 'Nynee Tal, a peep of the Lake, showing the Assembly Rooms and Hotel.' View looking across the lake to the hill station. Small faded print. View looking across the lake towards distant mountains. View looking across the lake towards mountains.[Printing-out paper, 219x165mm]. View looking across the lake towards snow-covered hills. View looking across the lake towards snow-covered mountains.[Gelatin silver print, 141x92mm]. View looking across the lake towards the boathouses. View looking across the lake towards the city in the distance.[?Matt collodion printing-out paper, 272x198mm]. View looking across the lake towards the distant Residency. View looking across the lake towards the hillside where the landslip took place. The new Assembly Rooms are in the foreground. View looking across the lake towards the peak of Kula Kangri on the Bhutan-Tibet border. View looking across the lake towards the sands of the Taklamakan beyond. Caption note continues: 'This lake is ten miles long by 1-2 m. broad and is of fresh water. The dunes in the background are 300 ft. high. It was crossing the desert between here and the Khotan River that Sven Hedin's camels and all his men except one died of thirst.' Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 192.[Gelatin silver print, mounted on card with typescript caption, 299x184mm]. View looking across the lake towards the Shwe Dagon Pagoda on the skyline.[136x81mm]. View looking across the lake towards the small wooden bridge in the Cantonment Gardens, with the Shwe Dagon Pagoda beyond. Print unsigned, but probably by Jackson. View looking across the lake towards the summerhouse and wooden bridge, with the Shwe Dagon Pagoda visible on the skyline. View looking across the Lal Bagh Gardens, with a fountain in the foreground and a bandstand beyond. The photograph is taken from the tower of the building seen in print 35. View looking across the lawn down to the lake.[Silver printing-out paper, 206x144mm]. View looking across the maidan. Dhurrumtollah Mosque is in the background. View looking across the maidan towards a row of buildings.. View looking across the Maidan towards Government House. View looking across the Maidan towards Government House. View looking across the Maidan towards the mosque.[Gelatin silver print, 114x166mm]. View looking across the massive tank.[Woodburytype, 241x185mm]. View looking across the Moti Bagh towards the tank and town beyond.[Albumen print, 263x212mm]. View looking across the Mula River towards the town beyond. View looking across the Narmada River towards the ghat, temples and other buildings.[Gelatin printing-out paper, 194x150mm]. View looking across the Nyang River towards the fort. View looking across the old covered bridge, with the stone water tower on the right.[Printing-out paper, 218x165mm]. View looking across the Parbati River towards a temple on the far side, with the fortified wall of the town beyond.[153x104mm]. View looking across the plain, with a Tibetan figure and dog standing beside the river in the foreground.[Photogravure, 148x114mm]. View looking across the plain towards the mountain. Probably photographed at the same period as print 287b, which is precisely dated. Print 268 is a copy of this photograph. View looking across the plateau at the summit of the rock, and out across the surrounding country. Tank in foreground. View looking across the ravine towards the cave-temples. View looking across the reservoir, with the dam at the left. View looking across the ridge towards Jakko.[Printing-out paper, 290x208mm]. View looking across the river, with a large raft carrying jars in mid-stream.[Printing-out paper, 96x67mm]. View looking across the river, with a local boat under way in mid-stream.[Printing-out paper, 97x67mm]. View looking across the river.[Post card, 134 X 82 mm.] View looking across the river. A pencilled cross on the print marks the location of the house seen in several of the following prints. View looking across the river. View looking across the river at Loikaw. Probably taken in December 1889.[Albumen print, 236x188mm]. View looking across the River Bara towards Ilam Gudar (?Gadar). View looking across the river towards a military group.[Photogravure, 113x149mm]. View looking across the river towards Aurangzeb's Mosque. Negative marked up for cropping. Original and duplicate negatives only, no print. View looking across the river towards buildings on the west bank. View looking across the river towards Chaksam Gompa. 'Some 3 miles above Chusul lies Chaksam where the winter ferry works when the river is low. There is also at Chaksam Gompa a very ancient iron suspension bridge which now only connects the Gompa to an island half way across the flooded river.' (Lhasa Mission Diary, 22 August 1936).[Gelatin silver print, 141x92mm]. View looking across the river towards cliffs. The rocks are too distant to make out any of the rock-cut sculptures. (Ancient Persis Map, A3). View looking across the river towards herd of yaks. View looking across the river towards the camp. View looking across the river towards the fort. View looking across the river towards the ghat, at which the steamer is drawn up, with temple pagodas on the bluff behind.[151x107mm]. View looking across the river towards the ghat.[Lantern slide, 75X75 mm]. View looking across the river towards the ghats.[Lantern slide, 75X75 mm]. View looking across the river towards the island. View looking across the river towards the library buildings. Print in poor condition, with many folds and tears.[Silver printing-out paper, 288x215mm]. View looking across the river towards the railway bridge, two spans of which have been completed. View looking across the river towards the steamer 'Fatshan' at her moorings, with sampans in the foreground.[Albumen print, 290x214mm]. View looking across the river towards the storm (not very distinct in this view). View looking across the river towards the temple. Duplicate at Photo 10/18 (90). View looking across the river towards the town. Slightly unsharp. View looking across the river towards the town. View looking across the river towards the two flights of steps known as the Siddh ki gupha and Rajghati, which descend the cliffs to the water. View looking across the river towards the village on the further bank, with houses and pagodas on the hillside beyond. Possibly taken at Tigyaing on the Irrawaddy, just south of its junction with the Shweli. View looking across the river towards Tse-tang. View looking across the river toward the camp. View looking across the rooftops of houses in the Fort towards shipping in the harbour. Later print from an early (?)paper negative.[Silver printing-out paper, 174 x 141 mm]. View looking across the rooftops of Islamabad. View looking across the rooftops of the Beyoglu District towards open country beyond.[Albumen print, 378x305mm]. View looking across the rooftops of the city. The letterpress caption note reads: 'The streets of the native city are so very narrow and irregular that a general view of it shows nothing but house-tops, and to secure even this is a matter of difficulty, the one we have selected as giving some idea of its extent was taken from the roof of a pawn shop; these buildings being always erected in the form of high square towers, similar to the one seen in the left of this view.' For a closer view of Canton pawnshops, see print 46.[Albumen print, 282x213mm]. View looking across the rooftops of the Tsuklakhang, the block of buildings in the centre of Lhasa containing the Jokhang and government offices. View looking across the Royal Lake in Dalhousie Park towards a boathouse. View looking across the Royal Lake towards the spire of the temple. View looking across the Salween, towards its confluence with another river (?the Nam Pang).[Printing-out paper, 139x79mm]. View looking across the Salween at Kunlong (NE of Lashio). The farther bank is crowded with people waiting to cross the river by the ferry. View looking across the Salween at the Takaw crossing point.[Albumen print, 238x190mm]. View looking across the Salween towards a small rocky island, with the densely wooded bank beyond.[Albumen print, 191x235mm]. View looking across the Salween towards the boundary commission camp on the far side. Scott's diary for 22-25 January mentions taking and developing a number of photographs at this spot, and his entry for 24 January probably relates to this photograph: 'Developed some Salween views last night. Four of them fairly good' (OIOC Mss Eur F278/6 f. 13).[Albumen print, 226x184mm]. View looking across the Salween towards wooded hills and mountains on the far bank, with porters gathered on the bank in the foreground.[Albumen print, 237x191mm]. View looking across the Sardar Bagh. View looking across the sea to distant buildings. View looking across the Simla Hills.[Gelatin silver print, 130x81mm]. View looking across the Singapore River towards Chinese shop houses. View looking across the square towards the domed General Post Office and at the right the Bengal Secretariat (formerly Writers' Buildings). View looking across the square towards the Hawa Mahal. View looking across the summit towards distant hills: 'There is a magnificent view from the top of the Ryakotta Hill that will well repay the difficulty of ascent. The whole country is spread out below as a map. It is pleasing to see the large amount of cultivation with its artificial irrigation of tanks and channels, all betokening the progress of industry...Everything speaks in language that cannot be mistaken that a brighter day has already dawned on India.' Albumen print, 356 x 260 mm. View looking across the Swat River towards the fort. View looking across the tank.[Albumen print, signed 'Lawton' in the negative, 280x215mm]. View looking across the tank towards temples on the farther side. View looking across the tank towards the magistrate's bungalow and kutcheri, with temples beyond. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 227x179mm]. View looking across the tank towards the rock beyond. Duplicate (later printing) of Photo 1000 (2976). Another copy at Photo 212/2 (36). View looking across the tank towards the rock fort. View looking across the tank towards the rock fortress and temple. View looking across the tank towards the town. This appears to one of the series of views of scenes at Jhansi associated with the Mutiny which was offered for sale by 'G.M.J.' in The Englishman of 26 July 1859, and is probably the print there described as Luchmer Tal - with fort of Jhansi in the distance. View looking across the tank towards the west side of Dalhousie Square, where the new General Post Office can be seen under construction. View looking across the Terek River towards the highway on the far side of the pass.[Albumen print, 265x208mm]. View looking across the Tigris towards the town. Poor quality snapshot. View looking across the town. View looking across the town northwards towards the Himalayas.[Silver printing-out paper, 153x103mm]. View looking across the town towards mountains (Murdar), with one of the town hall domes in the foreground. Similar view to print 67.[Gelatin silver print, 296x221mm]. View looking across the town towards the hills, with temples in the foreground.[Sepia-toned print, 206x139mm]. View looking across the Tsang-po towards the mountains on the far side. Prints 429-431 link up to form a panoramic view. View looking across the valley and showing the houses of the town. Continued in print 209.[100x77mm]. View looking across the valley to the hill station.] View looking across the valley to the ruined fort or dzong. View looking across the valley towards a distant village, with a mountain range in the background. Part of a bridge is visible in the foreground.[Albumen print, 288x235mm]. View looking across the valley towards Jamrud fort in the distance, with an armoured car parked in the foreground.[Signed 'Holmes 39' in the negative, 294x241mm]. View looking across the valley towards mountains, with the Potala hill and Lhasa city far below.[Gelatin silver print, 155x102mm]. View looking across the valley towards mountains. Another copy at print 6.[Silver printing-out paper, 119x96mm]. View looking across the valley towards mountains and glacier. View looking across the valley towards mountains on the far side. View looking across the valley towards mountains on the further side. This photograph won Bourne the prize at the 1863-64 Bengal Photographic Society Exhibition. View looking across the valley towards the glacier on the mountain slopes on the far side.[Captioned and signed 'Holmes 169' in the negative, 289x236mm]. View looking across the viaduct on the Mandalay-Lashio railway line. View looking across the water-filled crater towards a group of men and camels on the far side.[Gelatin silver print, 229x310mm]. View looking across the water towards shipping moored at the Kowloon Wharves, with Norddeutscher Lloyd mail steamers on the left.[Albumen print, 294x215mm]. View looking across the weir.[Printing-out paper, 361x289mm]. View looking across the westernmost part of the Karachi cantonment. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. View looking across the West River towards a pagoda on the summit of a hill, with a small river steamer 'Waihoi' under way in the foreground.[Hand-coloured albumen print, 270x210mm]. View looking across the wharves towards the non-dutiable import sheds. View looking across towards a precipitous hillside; the school is presumably the building perched on the summit. Size: 530 (w) x 401 (h) mm. View looking across unidentified plain towards mountains. View looking across valley from the Lakkar Bazaar View looking across valley towards cave entrances. Caves b, c, d and e have been marked on the print in red ink. (I.A. Map 12, D1). View looking across valley towards lamasery from neighbouring hillside. View looking across valley towards peaks. View looking across Yigrong River towards the road, which is built up on masonry supports along the rockface. Reproduced in No Passport to Tibet, p. 106. View looking along 'gabarband' wall. View looking along a canal, with local craft in the distance.[Gelatin silver print, 98x78 mm]. View looking along a canal in Batavia (Jakarta), with waterfront houses and local craft.[Gelatin silver print, 242x188mm]. View looking along a cutting, line not yet laid. View looking along a defile in the Salween near Pa-an. View looking along a main street towards the Char Minar. View looking along an arcade of shops in Queen's Road (with the Victoria Dispensary in the foreground), with rickshaws in the roadway. View looking along a narrow street lined with shops and hung with name boards. The accompanying letterpress caption note reads: 'The street in all native cities (except Peking, the northern Capital) are identical in their narrowness and gloom; wanting to the eye of a foreigner the gay appearance universal in the cities of Europe, their tortuous windings however, possess the advantage of cutting off the blazing rays of hot sunshine, and a stroll through them would doubtless be enjoyable were it not for the variety of indecribale smells that rouse the olfactory nerves to antagonism with the will of an explorer. Curio shops abound in these narrow labyrinths, but the prices asked for the wares are generally very exorbitant, and the business in consequence is not extensive.'[Albumen print, 212x292mm] View looking along an avenue towards an obelisk. View looking along a newly-completed section of line, with a railway trolley in the foreground. A faded print.[Printing-out paper, 114x89mm]. View looking along an irrigation canal, with rice fields on the right and a tree-lined road on the left.[Albumen print, 208x274mm]. View looking along an unidentified river (probably in the Sagaing Division), with a figure posed in the foreground.[Printing-out paper, 154x105mm]. View looking along an unidentified river in the jungle (probably in the Sagaing Division), with two men posed in the foreground.[Albumen print, 152x98mm]. View looking along an unidentified small river (probably in the Sagaing Division), with Burmese figures posed in the foreground.[Albumen print, 153x108mm]. View looking along an unsurfaced road, with a small trader's house open to the street on the right.[Albumen print, 238x186mm]. View looking along an unsurfaced road leading through a thick growth of bamboo: 'A narrow and difficult path led us by the Siddheshwar Betta of Hill through a thicket of bamboos which, rearing themselves in immense clusters from 60 to 80 feet high, curved gracefully, forming festoons, the tops of which touched one another and yielded a grateful shade as we passed under the lofty arches...' (Bowring, p. 226). [Albumen print, 238x181mm]. View looking along a path in the garden. View looking along a path towards a pagoda beside a lake.[Printing-out paper, 111x83mm]. View looking along a pathway, with European figures posed in the middleground. The Younghusbands moved from Dharmshala to Kasauli in November 1861 (see note on f. 29).[Albumen print, bottom corners trimmed on the diagonal, 84x100mm]. View looking along a promenade built under the direction of the Bombay Improvement Trust. Duplicate postcard at Photo 467 (6). View looking along a river and embankment. There are various activities taking place on the river and riverbank, buildings are visible through trees in the distance and a European couple are standing on the right. An annotation which probably identifies the precise location is unclear but may read: 'Singree [?]'. View looking along a river bank towards a cluster of thatched houses. Precise location unidentified. A faded print.[Printing-out paper, 120x95mm]. View looking along a river towards a wooden bridge.[Albumen print, signed 'Sach� 497' in the negative, 288x226mm]. View looking along a river towards mountains. View looking along a road at the Peak, towards distant houses.[Albumen print, 272x209mm]. View looking along a rough track through the pass, towards a figure carrying wood and beyond him a European man seated on a rock. Print unsigned, but possibly by Bremner. A tightly rolled print.[Albumen print, 263x197mm]. View looking along a stream towards a building obscured by trees.[Albumen print, 220x166mm]. View looking along a stream towards a wooden bridge. View looking along a stream towards distant mountains. View looking along a street, with the rock in the background. View looking along a street in Sawlon (modern Sawnglaw). View looking along a street in the bazaar, with figures seated in the foreground on the steps of a building with an elaborate carved wood balcony decorated with antlers.[Albumen print, signed 'Sach� 482' in the negative, 286x235mm]. View looking along a street in Wuntho, with thatched houses and a few shops on either side of the unsurfaced road. Print unsigned, but probably by Felice Beato. View looking along a street lined with small thatched houses. View looking along a street towards a gateway. Small faded print. View looking along a street towards a gatweay, with Chinese crowd in foreground watching photographer. Second copy neg at B.13062. View looking along a street towards a mosque (see also Print 33). View looking along a street towards an unidentified mosque. View looking along a street towards the entrance arch, a structure in European style surmounted by a cast-iron tower. See prints 62-63 for a panoramic view of the town taken from this tower. View looking along a street with damaged houses on either side. A triple-arched gate is in the distance.Size 515 (w) x 380 (h) mm. View looking along a street with lined with single-storied thatched houses towards the pyathat of the palace in the distance. Letterpress continues: 'The Ooh-nein gate leads into this street. The Palace is the centre of the city, and the streets leading from the central gate of each face converge on it'. View looking along a street with shops and houses on either side. View looking along a stretch of the road, with a river on the left, and an unidentified town on a plateau in the right background.[Albumen print, 277x216mm]. View looking along a tree lined avenue. View looking along a tree-lined road, with a pagoda in the right foreground.[Printing-out paper, 149x110mm]. View looking along a tree-lined stretch of river, with small shikaris or canoes moored along the bank. Photographed titled 'Sreenugger down the River from the Char-Chenar' in the Baker and Burke catalogue.[Albumen print, signed 'W. Baker 520' in the negative, 197x147mm]. View looking along a tree-lined stretch of road, a car parked on the right. View looking along a tree-lined stretch of the road. View looking along a valley, with harvesting in progress in the foreground, towards mountains beyond.[Gelatin silver print, 180x133mm]. View looking along a valley to distant mountain. View looking along a valley towards mountains. Tent in foreground. View looking along a valley with a village up on the hillside on the left.[Albumen print, 285x238mm]. View looking along a village road towards tamarind trees.[Printing-out paper, 99x74mm]. View looking along a village street, with an ox-drawn cart approaching the camera.[Printing-out paper, 151x105mm]. View looking along a village street, with two Europeans in the foreground.[74x52mm]. View looking along a village street lined with thatched houses, possibly at Wuntho. View looking along a village street lined with thatched houses. A more substantial building, with a tiered roof of thatch, stands on the hillside in the background. View looking along bank towards bridge.[Albumen print, captioned in the negative, 254x202mm]. View looking along box girders at side of bridge. Negative only, no print. View looking along canal, with a tributary canal and regulator running off at the right. View looking along canal and across aqueduct.[Printing-out paper, 367x280mm]. View looking along canal towards regulator. View looking along covered walk in the garden.[77x104mm]. View looking along defile towards mountains, with horsemen on the path in the foreground.[Gelatin silver print, 107x165mm]. View looking along eroded ravine on the mound. View looking along excavated area. View looking along excavated trench, similar to print 81, but showing more of side wall. (Ancient Persis Map, B3). View looking along excavated trench, with bodies in foreground. View looking along excavated trench, with diggers standing in background. View looking along excavated trench. View looking along foreshore, with thick forest down to the water's edge. View looking along foreshore towards a hill. View looking along foreshore towards the Barracks (distant). View looking along foreshore towards the houses of the village, with small boats beached in the distance. Parak is about five miles east of Tahiri. Archaeological Reconnaissances, fig. 77: 'Parak village, at foot of maritime range, near Tahiri.' View looking along forest track.[Printing-out paper, 139x82mm]. View looking along formal pathway.[74x99mm]. View looking along garden path towards entrance to mess. View looking along ghat, with low pillar in foreground. Stereoscopic pair. View looking along glacier towards cloud-covered peaks. For note on caption and dating, see print 11.[Printing-out paper, numbered '20380' in pencil on reverse, 290x235mm]. View looking along gorge towards a mountain peak, with note beside print indicating 'Rock from which prisoners were hurled.'[Silver printing-out paper, 98x120mm]. View looking along hill road north from Darjeeling. View looking along hillside. View looking along hillside towards distant crags. Caption taken from duplicate at print 23. Vignetted oval image.[Albumen print, 125x90mm]. View looking along hillside towards village. View looking along James Street, with the clock tower on the left.[Albumen print, numbered '3733' in the negative, 273x214mm]. View looking along lake. Very poor quality. View looking along lake towards mountains. View looking along Malabar Hill towards the point.[Albumen print, 229x189mm]. View looking along moat towards the shell-marked gateway, with the dome of St James's Church (Skinner's Church) visible in the background.[Albumen print, 308x206mm]. View looking along narrow pathway along sheer cliff face. View looking along one of the walks beside the lake at Kandy. The photograph is signed 'Scowen' (the original photographer) in the negative, but also has the blind stamp of the Colombo Apothecaries Company, who took over his stock.[Albumen print, 277x215mm]. View looking along path towards gate.[Albumen print, 100x74mm]. View looking along path towards summit.[Gelatin silver print, 108x164mm]. View looking along pathway towards perimeter wall.[77x101mm]. View looking along pier on the Caspian shore towards the oil depot.[Gelatin silver print (modern print), 141x90mm]. View looking along plateau to the plains below. View looking along pool towards pavilion. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 60x103mm]. View looking along Queen's Road, with the Hong Kong and Shanghai Bank (built 1869) on the left and Beaconsfield Arcade (1860) on the right.[Albumen print, 291x226mm]. View looking along Queen Street towards the lighthouse and clocktower in Chatham Street. Print unsigned, but probably by Skeen & Co. View looking along ravine towards the falls in the distance. View looking along ridge towards hill with steep cliff face. This is the left-hand section of a three-part panoramic view formed by prints 2-4.[Printing-out papere, 151x112mm]. View looking along river, with fort overlooking gorge at left. View looking along riverbank towards girder bridge over the Panjshir.[Gelatin silver print, 86x114mm]. View looking along riverbank towards traders. Winsin not traced.[Albumen print, 98x74mm]. View looking along river towards bridge, similar to print 57. View looking along river towards bridge, with jungle covered hills rising on either side.[Geletin silver print, 84x105mm]. View looking along river towards bridge. A similar view to print 55.[Gelatin silver print, 136x82mm]. View looking along river towards camp at Fort Pearson. View looking along river towards cluster og pagodas and a bridge in the distance. Print cut out from album, originally placed after print 127.[Albumen print, 100x76mm]. View looking along river towards mountains. View looking along river towards railway bridge. View looking along river towards sluices.[Printing-out paper, 369x289mm]. View looking along river towards stone bridge. View looking along river towards the camp. View looking along river towards wooded hills. View looking along river valley. View looking along river valley towards bridge, with mountains in the distance.[Albumen print, numbered '616' in the negative, 92x102mm]. View looking along river valley towards mountains.[Albumen print, 287x238mm]. View looking along river valley towards mountains.[Albumen print, signed 'Sach� 812' in the negative, 283x233mm]. View looking along road, with overhanging rock in middleground and waterfall beyond.[Albumen print]. View looking along road, with river at right and pony cart in foreground.[Silver printing-out paper, 102x76mm]. View looking along road, with small thatched houses on the left.[Printing-out paper, 148x102mm]. View looking along road down to the river, crowded with people. View looking along road through gorge.[Gelatin silver print, 77x113mm]. View looking along road through the village, lined with thatched houses, with a group of women posed in the left foreground. A line of stepping stones runs along the road. View looking along road towards bridge. View looking along road towards car in distance.. View looking along road towards gateway, probably the entrance to the palace, with crowds lining the street. A photograph probably taken by Haward during the Survey of India visit to Dumraon to photograph the eclipse of the sun in January 1898. Original negative and modern copy print at Photo 527/2 (50). View looking along road towards hills. (Ancient Persis Map B2). View looking along road towards the houses of a village. Caption pencilled on reverse of print. View looking along road towards walls and gateway, with pagodas in the distance. Print reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.122. The incident referred to in the caption is described on pp.122-23. View looking along roadway towards arched brick gateway.[Albumen print, 181x118mm]. View looking along road winding through tree-clad hills.[Gelatin silver print, 113x82mm]. View looking along road with figures posed beside their horses in the middleground. View looking along roughly paved path to fortified gate. View looking along roughly paved path towards the thatched houses of the village. Scott's visit to Na Fan is described in G.E. Mitton, 'Scott of the Shan Hills' (London, 1936), p. 248. For another copy of this photograph, see Photo 92/10 (121).[Albumen print, 183x119mm]. View looking along roughly paved path towards the village. For another copy of this photograph, see Photo 92/11 (313). View looking along Sind River towards distant mountains. View looking along snow-covered road towards Gyantse Dzong. View looking along snow-covered valley floor towards mountains, with springs and small cabin in foreground. Duplicate at print 31. Stereoscopic view. View looking along steep-sided river gorge towards Kinchinjunga. View looking along streambed. Slightly unsharp. View looking along stream towards the stone bridge, presumably built by G.K. Watts of the Public Works Department (see print 84). View looking along stream towards wooden bridge.[Albumen print, 99x73mm]. View looking along street, with a temple on the left. The verandahs of the buildings are supported on elaborate carved wooden brackets. Bombay District? Inscribed in pencil on the reverse: 'Street (?)where?' Later print from a (?)paper negative.[Silver printing-out paper, 232 x 179 mm]. View looking along street, with figures in the foreground watching the photographer.[Gelatin silver print, 131x79mm]. View looking along street towards city gate.[101x77mm]. View looking along street towards temples, with the durbar hall at the left. See print 27 for a better-quality view of the same scene. View looking along terrace above the river Chittar towards the falls. View looking along the Ammo Chu. View looking along the bank of the Ammo Chu towards a wooden bridge, with hills beyond. View looking along the bank of the Gumti towards the Chattar Manzil, with the King of Oudh's boat in the foreground. The bridge of boats can be seen in the background. Caption as it appears in Hering's catalogue of Beato's views in square brackets. [Albumen print, 305x242mm]. View looking along the bank of the Irrawaddy at Mandalay, with numerous small local boats in the foreground and the steamer landing place (with steamers at their moorings) in the background.[Albumen print, 267x199mm]. View looking along the bank of the Upper Bosphorus towards the village of Yeni Mahali.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x199mm]. View looking along the banks of the River Jhelum at Munshi Bagh, with boats moored. The figure standing in foreground is identified as Neville Chamberlain. View looking along the beach towards the lighthouse. View looking along the beach towards the Mount Lavinia Hotel, which stands on a small headland a few miles outside Colombo. View looking along the Bosphorus towards Arnavatuk�y, north of Istanbul on the European side.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View looking along the Bosphorus waterfront at Yenik�y, with villas (yalis) overlooking the water.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View looking along the breakwater. View looking along the bridge View looking along the bridge under construction, with barges lined up against the side of the bridge.[Printing-out paper, dated '24-6-13' in the negative, 205x155mm]. View looking along the canal, set amidst a coconut plantation. location unidentified, but probably at Chavara, north of Quilon (see map accompanying The Travancore State Manual (1906). View looking along the canal, with landing ghats in foreground with moored craft (wallums). Print unsigned, but possibly by D'Cruz (compare similar view at Photo 430/45 (35)). View looking along the canal.[Silver printing-out paper, 103x75mm]. View looking along the canal. Caption is taken from duplicate at Photo 430/45 (32). Pencilled caption on back of this print reads 'Wankalay Canal'. View looking along the canal towards a bridge, with wallums moored in the foreground. Similar view of this scene at Photo 430/45 (33). Print unsigned, but probably by D'Cruz. View looking along the canal towards a bridge. View looking along the canal towards a stone bridge, with local boats in the foreground.[Silver printing-out paper, 103x76mm]. View looking along the canal towards the bridge, with 'wallums' on the water in the foreground. Duplicate at Photo 430/45 (46). View looking along the canal towards the superpassage. View looking along the canal towards the tunnel at Varkala. View looking along the canal towards the tunnel running through the cliffs at Varkala. The building of the tunnel (opened to through traffic in 1880) linked Trivandrum to Quilon in a single canal. View looking along the cane bridge, showing the narrow walkway. View looking along the causeway towards, in the distance, the gopuras of the Minakshi Sundareshvara Temple. 'This forms the main entrance to the town of Madura from the North. It is 133 yards in length. The stone pillars at the sides are about ten feet high...' View looking along the Chaura Maidan, with the Cecil Hotel on the right. Ramsden was born in the house known as the Tendrils, which was later taken over by the hotel (see Edward J. Buck, Simla past and present (Bombay, 1925, pp.172-4), for a detailed history of the buildings). View looking along the Chitral River towards the bridge. View looking along the cliff edge. View looking along the cliffside road at Rogi towards mountains.[Albumen print, numbered '206' in pencil on reverse, 288x234mm]. View looking along the coast. View looking along the course of the canal, showing two bridges running across it. The cutting of the bridge in the forgeround is in a state of collapse. The canal runs north-south along the west side of the city. View looking along the course of the nullah and up towards the head of the pass. View looking along the course of the river. View looking along the crevasse, with an unidentified climber peering over the edge.[Photogravure, 253x203mm]. View looking along the crowded riverbank, where tents are pitched, with people bathing in the river. Possibly a photograph of the Allahabad Kumbh Mela.[Albumen print, 153x109mm]. View looking along the cutting, with labourers posed in the foreground. View looking along the cutting towards the entrance to the tunnel, west of Haflong, with labouerers grouped beside the line. View looking along the Dal Canal, lined with local boats, towards Takht-i-Sulaiman hill in the distance. Inscribed in pencil on reverse: '652. Takht-i-Suleiman on the Dhal Canal.'[Albumen print, numbered '652' in the negative, 276x207mm]. View looking along the Dal Canal, with local craft moored along the banks. View looking along the damaged line, with water and mud pools beside the embankment.[Gelatin silver print, 203x129mm]. View looking along the defile, with stream in foreground. View looking along the Dras Valley, with the fort at extreme right of print.[Silver printing-out paper, 164x55mm]. View looking along the east side of the square towards St Andrew's Church at the far end. Print unsigned, but probably by Oscar Mallitte. View looking along the excavated face of the wall, showing pilasters. View looking along the flooded line.[Gelatin silver print, 198x138mm]. View looking along the foot of the pass, a caravan on the road in the foreground, fort on the hill overlooking the pass. View looking along the foreshore, crowded with beached fishing boats. View looking along the foreshore. View looking along the full canal.[Printing-out paper, 370x275mm]. View looking along the Ganges at Raiwala, with the fishing pool in the foreground.[Albumen print, 233x174mm]. View looking along the ghat, crowded with bathers. View looking along the ghats towards the distant mosque. View looking along the glacier towards the peak. Fold down one side of print. Reproduced in Filippo de Filippi, 'Karakoram and Western Himalaya 1909' (London, 1912), facing p. 288, there captioned 'K2, from the Concordia Amphitheatre.'[Silver printing-out paper, 192x242mm]. View looking along the Godavari River towards a temple on the riverbank. View looking along the Golden Horn from the Topkapi Palace. With the Galata Tower in the distance on the right. On the left hand corner of the photograph, the Yeni Valide Camii, is visible. Also, a part of the Sirkeci Train Station, can be seen. This photograph joins up with print 8 to form a panoramic view of the Golden Horn.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View looking along the gorge, showing the road winding along the steep sides. Also captioned 'Khyber Pass' in pencil on the reverse.[Signed 'Holmes 11' in the negative, 293x142mm]. View looking along the gorge, with a narrow wooden footbridge high above. View looking along the gorge, with Stein's party and his escort of Zhob Levies (supplied from the post at Hindubagh) proceeding along the track. View looking along the gorge. View looking along the group of moulds, prior to filling.[Gelatin silver print, 201x150mm]. View looking along the Gumti River towards the Rumi Darwaza or Constantinople Gate (right of centre), the Machhi Bhavan to the left and the Great Imambara at the right. View looking along the hillside dotted with bungalows. This photograph is listed in the Bourne and Shepherd catalogue as 'Darjeeling, general view from Bryanstone Hill.' Print surface cockled from water damage.[Albumen print, signed 'Bourne 1869' in the negative, 279x191mm]. View looking along the hillside road, with figures posed on the highway. Print unsigned, but probably by Bali.[Printing-out paper, 293x211mm]. View looking along the hillside towards a substantial house.[Albumen print, signed 'R.H. 103' in the negative, 225x178mm]. View looking along the Hugli. Modern copy print. View looking along the Hugli at Calcutta, with sailing ships at anchor. In the right foreground a yacht is moored, the superstructure almost entirely covered by awnings. A note beneath the print reads: 'Lady Canning made a long journey in this yacht up the Ganges 1860-1861.' Two other notes, in Lady Bayley's hand, read: 'I was on board with her for some days [in] 1860' and 'Lord C.'s yacht 'Soona Mooker''. Print numbered in the negative '13'. [283x235mm]. View looking along the Indus (with a wooden footbridge in the foreground) towards the snow-capped peaks of Nanga Parbat.[Captioned and signed 'Holmes Copyright' in the negative, 291x236mm]. View looking along the Indus towards the rope bridge.[Silver printing-out paper, 121x97mm]. View looking along the Irrawaddy, towards a ghat where a paddle steamer and a laung zat (paddy boat) are moored.[Gelatin silver print, 123x51mm]. View looking along the Irrawaddy (?towards Sagaing).[Gelatin silver print, 133x79mm]. View looking along the Irrawaddy at Pakokku, with a timber raft moored beside the bank in the foreground..[Printing-out paper, 89x68mm]. View looking along the Irrawaddy riverbank at Sagaing, with a row of small local boats moored at the water's edge.[Printing-out paper, 97x71mm]. View looking along the Jhelum. View looking along the Jhelum from the Third Bridge, with the Shah Hamadan Masjid on the right bank.[Gelatin silver print, 293x240mm]. View looking along the Jhelum in Srinagar.[Gelatin silver print, 294x239mm]. View looking along the Jhelum towards a temple on the right bank.[Printing-out paper, 240x185mm]. View looking along the Jhelum towards a wooden bridge, with the Shah Hamadan Masjid beyond and Hari Parbat hill in the distance. Print unsigned, but probably by Baker.[Albumen print, 197x148mm]. View looking along the Jhelum towards a wooden bridge, with the Shah Hamadan Masjid visible beyond and the hill fort of Hari Parbat in the distance. View looking along the Jhelum towards buildings on the far bank. View looking along the Jhelum towards the bridge. View looking along the Jhelum towards the Palace. Caption note continues: 'On the left bank of the river is seen the golden dome of the Maharajah's Palace. The striking feature of the town of Sreenuggur is this river, which forms its principal thoroughfare. The city is entirely built upon its banks. No one who visits Cashmere can fail to realize its resemblance to Venice with its graceful gondolas and 'silent highways.' View looking along the Jhelum towards the Shah Hamadan Masjid. View looking along the Jhelum towards the Third Bridge, with the Shah Hamadan Masjid visible beyond on the far bank.[Albumen print, signed 'Bourne 742' in the negative, 191x105mm]. View looking along the Kabul River. Second copy neg at B.7564. View looking along the Kabul River towards the bridge. The mosque is largely concealed by trees. Duplicate at Photo 430/2 (73). View looking along the Khyber Pass, road on left, caravan below. View looking along the Kurram River winding through the valley. View looking along the Kyi-Chu river towards a bridge.[Gelatin silver print, 412x92mm]. View looking along the Kyi-Chu towards Lhasa. View looking along the Kyi Chu Valley towards Lhasa, with the Potala visible in the distance. 'This has been a most notable day, the first entry into Lhasa for all the British members of the Mission...The most phlegmatic person could hardly avoid a thrill, when marching up the Kyi-chu, at the first sight of the Potala, the palace of the Dalai Lama with its gilded roofs glittering in the bright sunshine of these altitudes, at many miles distance.' (Lhasa Mission Diary, 24 August 1936).[Gelatin silver print, 141x92mm]. View looking along the lake, with a temple in the foreground.[Albumen print, signed 'Sach� 295' in the negative, 285x235mm]. View looking along the lake, with buildings in foreground. Unnumbered print, but probably no. 1664 in the Bourne & Shepherd catalogue, 'Nynee Tal, general view from above the hotel, large creeper in foreground.'[Albumen print, 83x96mm]. View looking along the lake. Small snapshot. View looking along the lake. View looking along the lake. View looking along the lakeside path towards the temple. View looking along the lakeside road towards the main part of the town.[Albumen print, signed 'Sach� 275' in the negative, 292x233mm]. View looking along the lake towards distant snowy ranges. View looking along the lake towards mountains. View looking along the lake towards the bridge.[Silver printing-out paper, 203x148mm]. View looking along the lake towards the Galle Face Church.[Albumen print, 271x213mm]. View looking along the lake towards the town and hill beyond. View looking along the largely collapsed reservoir embankment.[Albumen print, 262x200mm]. View looking along the length of a massive crack in the ground beside the railway line.[Gelatin silver print, 138x204mm]. View looking along the length of the bridge. View looking along the length of the square towards the Exchange.[Albumen print, 237x176mm]. View looking along the Lidar River at Pailgam.[Silver printing-out paper, 100x75mm]. View looking along the line, showing massive earth fissures, with the damaged platform and station buildings beyond.[Gelatin silver print, 204x134mm]. View looking along the line, with a railway locomotive in the foreground.[Printing-out paper, 309x245mm]. View looking along the line.[Albumen print, 232x291mm]. View looking along the line.[Gelatin silver print, 202x133mm]. View looking along the line. View looking along the line and through the tunnel towards a viaduct. Print unsigned, but probably by Bremner. A tightly curled print.[Albumen print, 198x266mm]. View looking along the line at Khamameth Station, with annotations in the negative indicating the end of goods platform, private goods shed, new siding and scissors crossing at west end.[Silver printing-out paper, 138x81mm]. View looking along the line of the bridge towards pier foundations under construction, the work powered by a steam engine positioned on a boat at the right.[Albumen print, captioned in the negative, 253x202mm]. View looking along the line of the rack railway towards a tunnel. View looking along the line through the gorge.[Printing-out paper, 114x89mm]. View looking along the line towards a cutting, with a small wooden building on the right.[Printing-out paper, 114x88mm]. View looking along the line towards a viaduct under construction. View looking along the line towards the bridge. View looking along the line towards the distant trolley. View looking along the line towards the east mouth of the Khojak Tunnel, built in castle style, with two crenellated towers flanking the opening. View looking along the line towards the entrance to the tunnel. View looking along the line towards the girder viaduct spanning the gorge on the Mandalay-Lashio railway line.[?Gelatin printing-out paper, 270x202mm]. View looking along the line towards the mouth of the cut and cover tunnel. With an L-class locomotive, No. 42, at the tunnel mouth. View looking along the line towards the mouth of the tunnel, with a locomotive on the line in the foreground.[206x148mm]. View looking along the line towards the north entrance to the tunnel, with the Jatinga River at the left. See note at print 2. View looking along the line towards the station, with trains at the platform and two large pagodas in the background. View looking along the line towards the station and the Khyber Pass beoynd, with a locomotive on the line in the foreground: 'The Khyber Railway starts from Jamrud 1,500 feet above sea level and immediately after leaving the station the grade steadily increases in severity as the train approaches the clearly marked mouth of the Pass. The first station at Bagiari lies in the jaws of the Pass close to Bagiari Fort. Ahead lie steep hillsides up which the railway has to find a way and on the skyline is visible Changai station built like a fort, which the train will only reach after traversing some three miles of tortuous line...'[247x146mm] View looking along the line towards the train in the distance at the station.[Gelatin silver print, 127x75mm]. View looking along the line under construction, with the bridge in the foreground. Specific location unidentified, but presumably on the course of the Mu Valley State Railway.[Albumen print, 115x190mm]. View looking along the line under construction. Precise location of Zaw Choung unidentified, but presumably on the Mu Valley State Railway.[Cyanotype, 155x115mm]. View looking along the line where it passes beneath an overhang. Note rack running between tracks. Duplicate at Photo 383/1 (11). View looking along the Mahaweli Ganga towards the Katugastota Bridge, which linked the roads from Kurunegala and Matale with Kandy. Work on the bridge, of iron lattice construction with three 120 ft spans, was begun in September 1858 and opened for traffic in March 1860. It was strengthened with intermediate piers in 1905. The view is taken from just above the Alutgamtota Ferry, looking along the Dumbara Valley towards Hunasgiriya Peak in the background. A lithograph from an original drawing by Captain Charles O'Brien, made in about 1859, shows an almost identical view.[Albumen print, 280x216mm]. View looking along the main street towards the palace in the distance. Forms a panoramic view with plate 62. These two photographs were evidently taken from the entrance gateway seen in print 29. View looking along the Mall.[Printing-out paper, 294x210mm]. View looking along the Mall towards Kennedy House.[Albumen print, 275x211mm]. View looking along the Mall towards the Library.[Sepia toned print, 130x78mm]. View looking along the Marki Khel stream towards the ruins of the bridge. Sikka Ram (Sikaram) is the highest peak in the Safed Koh range. No. 88 in Burke catalogue of Afghan War views. View looking along the moat towards a row of zayats of rest houses, used at this period as hospital quarters for British officers. View looking along the mole towards the steamer Rajputana. View looking along the Nam Pang River at Keng Hkam. Scott was at Keng Hkam on 27 February 1890.[Albumen print, 240x189mm]. View looking along the Nam Pawn River towards falls. Faded print.[131x80mm]. View looking along the narrow road running between the cliff face and the Indus. View looking along the nullah towards the peak.[Silver printing-out paper, 96x119mm]. View looking along the Nyang Chu river towards the bridge. View looking along the old city walls. View looking along the ornamental lake in the Yildiz Palace gardens towards a small summerhouse or pavilion.[Albumen print, 259x201mm]. View looking along the outer wall of the fort. View looking along the overgrown moat. Photograph probably by Scott. View looking along the palm-lined street.[Albumen print, 216x131mm]. View looking along the parapet wall, with the river on the left.[Printing-out paper, 372x276mm]. View looking along the partially constructed cutting. View looking along the partially constructed cutting. This is possibly the same cutting as seen in print 60, there identified as the 'Thechoung Gorge'.[Printing-out paper, 113x154mm]. View looking along the pass, road and railway tunnel in foreground. View looking along the pass, with two men leading ponies in the foreground.[Signed 'Holmes 222' (partly erased) in the negative, 287x243mm]. View looking along the pass and down onto the railway line.[250x148mm]. View looking along the path round the lake, with two Indians standing beneath the trees in the foreground. Unnumbered print, but probably no. 1673 in the Bourne & Shepherd catalogue, ' Nynee Tal, a peep from the western side, oaks in foreground.' View looking along the path towards the lake, with a European woman (popularly supposed to be Mrs Bourne) standing beside the water.[Platinum print made c. 1900, signed 'Bourne 1747' in the negative, 288x236mm]. View looking along the path towards the small church on the skyline. View looking along the Peak, showing the layout of roads and houses. Handwritten notes on the album page identify the following landmarks: Commodore's Cabin (flagstaff), Plantation Road, the Homestead, road to Pokfulam, Treverlyn.[Albumen print, 270x219mm]. View looking along the pier from landward, with goods being off-loaded and ships at anchore in the enclosed harbour beyond. View looking along the platform towards the station buildings.[Platinum print, 100x74mm]. View looking along the poplar-lined avenue, with figures posed in the middleground.[Albumen print, signed 'W. Baker 472' in the negative, 198x145mm]. View looking along the poplar-lined river. View looking along the quayside at Rumeli Hisari, with yalis overlooking the Bosphorus.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x199mm]. View looking along the ramparts, with houses inside the Fort on the left. Later print from an early (?)paper negative.[Silver printing-out paper, 198 x 149 mm]. View looking along the ramparts, with houses inside the Fort perimeter on the right. Later print from an earlier negative.[Gelatine developing-out paper, 233 x 178 mm]. View looking along the ramparts of the hill fort. Print uncredited, but probably by Dixon.[Albumen print, 242x220mm]. View looking along the ravine. View looking along the Ravi towards the suspension bridge in the distance. View looking along the remains of the walls of the stronghold, with figures working at a plane table in the middle distance. Archaeological Reconnaissances, fig. 85: 'Bastioned wall on Takht-i-Pirist spur, above Haraj.' View looking along the restored guide bank, with labourers at work placing sandbags in position in the foreground and the Hardinge Bridge visible on the skyline behind.[Gelatin silver print, 241x185mm]. View looking along the ridge, probably eastwards towards Pinnacle Hill.[Albumen print, numbered '879' in the negative, 225x180mm]. View looking along the ridge, with a camera on a tripod in the background. View looking along the ridge. Archaeological Reconnaissances, fig. 27: 'Cliffs on N. face of hill stronghold of Qalat-i-Jamshid, Giti.' View looking along the ridge. View looking along the ridge dotted with bungalows.[Albumen print, 238x199mm]. View looking along the ridge towards mountains. View looking along the ridge towards the houses of the town. View looking along the ridge towards the Maharaja's modest palace. View looking along the ridge towards the village. View looking along the rift towards the girder bridge, with a European and a Baluchi man standing in the foreground.[Gelatin silver print, 205x281mm]. View looking along the river, showing cultivation on the banks. View looking along the river, with a ghat and chhatri in the foreground.[Gelatin silver print, 147x203mm]. View looking along the river, with a houseboat and shikaras on the water. View looking along the river, with densely wooded banks rising on either side.[Albumen print, 187x238mm]. View looking along the river, with men at work in the foreground, apparently panning for gold at the water's edge.Second copy neg at B.9965. View looking along the river, with shikaras at their moorings in the foreground. View looking along the river, with the bridge in the foreground. The caption note continues: '...The Saungur is formed by entire trees, laid parallel, planked over, and supported by piers consisting of trees embedded in embankments of stones. On the brink of the river, in the distance, rises the smoke from a Hindoo's funeral pyre.' The funeral pyre referred to can be seen just before the bend of the river. View looking along the river, with the Shah Hamadan Masjid in the right foreground, and Hari Parbat Fort on the summit of Sharika Hill visible in the centre background. Caption note continues: 'In addition to the Mahomedan Mosque represented in a former picture picture [print 26], we have here the 'Hurripurwat,' the fort which commands the valley. Beyond the large thatched boats, on the river, is seen a bathing machine, such as is used by the better classes of inhabitants.' View looking along the river.[Albumen print, 239x190mm]. View looking along the river.[Printing-out paper, 138x81mm]. View looking along the river. A poor quality print. View looking along the river. View looking along the riverbank, with beached boats and earthenware pots in the foreground. Modern copy print. View looking along the river bank, with irrigation canal headworks on the left.[Printing-out paper, 365x288mm]. View looking along the riverbank, with local craft moored in the foreground and a paddle steamer in the distance. Duplicate negative only, no print. View looking along the river bank, with local sampans moored at the water's edge.[Printing-out paper, 141x96mm]. View looking along the riverbank towards a group of thatched houses raised on stilts.[204x154mm]. View looking along the riverbank towards a large group gathered at the crossing point, with a boat approaching the water's edge. Faded print.[Albumen print, 240x190mm]. View looking along the riverbank towards one end of the small wooden footbridge, which a group of porters are crossing: 'We decided to camp at Ilupu until sufficient rations had been brought up to enable us to survey the Matun valley. Meanwhile Nevill and I selected a good place to cross the river and there we built a good substantial trestle foot-bridge. So that we could be independent of floods, Nevill at the same time got the Chulikattas to construct a strong cane suspension bridge opposite Ilupu village' (No Passport to Tibet, p. 32). This bridge seen here was presumably in use until these new structures had been completed. View looking along the riverbank towards the buildings. Very faded print. View looking along the river bank towards the chorten or stupa, which is surrounded by a group of prayer flags. Some houses visible on far bank of the river. View looking along the riverbank towards the fort, with the bridge of boats in the distance. Second copy neg at B.7940. View looking along the river bank towards the piers, with the bridge of boats just in front and a jetty in the foreground.[Albumen print, captioned in the negative, 254x202mm]. View looking along the riverbank towards the rail ferry at Pandu Ghat. Print of this negative at Photo 390/3 (14). Duplicate negative only, no print. View looking along the river bank towards the start of the bridge, showing three sets of bell foundations in place and with local boats moored in the foreground.[Albumen print, signed 'J. Lloyd 30.3.76' in the negative, 269x210mm]. View looking along the river bank towards the wooden bridge, with shops running its length.[Albumen print, signed 'W. Baker 538' in the negative, 197x145mm]. View looking along the river frontage. View looking along the river gorge. View looking along the River Jhelum in the city towards the Shah Hamadan Masjid.[Silver printing-out paper, 185x91mm]. View looking along the riverside ghats towards the Mosque of Aurangzeb. View looking along the river View looking along the River Tista towards a wooden footbridge. View looking along the river towards a bridge, with a distant view of Lhuntse Dzong on the hillside beyond. View looking along the river towards a group of pagodas.[97x73mm]. View looking along the river towards a small pagoda on the rising ground beyond. In the middleground two baggage elephants have just crossed the stream at a fording place. For an enlarged copy of this photograph, see print 133.[Printing-out paper, 147x100mm]. View looking along the river towards distant snow-covered peaks.[Captioned and signed 'Holmes 208' in the negative, 276x242mm]. View looking along the river towards falls.[Gelatin silver print, 139x82mm]. View looking along the river towards ghats and bridge. Photograph possibly by Henry Dixon (although a different view of the same scene from Photo 1000 (2052a), which is credited to Dixon). [Albumen print, 220x254mm]. View looking along the river towards mountains.[Silver printing-out paper, 119x97mm]. View looking along the river towards mountains. View looking along the river towards one of the bridges. View looking along the river towards Sati Chaura Ghat. View looking along the river towards the bend and high cliffs seen in print 119mm.[Albumen print, 150x97mm]. View looking along the river towards the box girder bridge over the Bhavani River just outside Mettuppalaiyam. Duplicate at Photo 383/2 (26). View looking along the river towards the bridge, which is lined with houses along its length. Caption note continues: 'This quaint bridge cannot but call to recollection by-gone days, when London Bridge was also lined with somewhat similar buildings.' View looking along the river towards the bridge.[Printing-out paper, 149x109mm]. View looking along the river towards the bridge.[Silver printing-out paper, 92x76mm]. View looking along the river towards the bridge. View looking along the river towards the bridge of boats. View looking along the river towards the city. The temple tower seen in print 6 stands prominently at the water's edge.[Albumen print, 272x159mm]. View looking along the river towards the falls.[Albumen print, 186x237mm]. View looking along the river towards the fort, which stands on a sheer outcrop of rock in the distance.[Silver printing-out paper, 98x120mm]. View looking along the river towards the houses of the town. View looking along the river towards the Lal Mundi Palace in the distance. View looking along the river towards the palace on the farther bank. View looking along the river towards the railway bridge.[Gelatin silver print, 118x70mm]. View looking along the river towards the steel girder bridge. View looking along the river towards the suspension bridge. View looking along the river towards the temples. View looking along the river towards the village. View looking along the river towards the wooden bridge. With a group of men lining the length of the bridge to test the structure. View looking along the river towards the wooden pile bridge, known as the 'Pul-i-Feringhi', built just to the north of Fort Ibrahim Khan, on the road linking the Sherpur Cantonment and Siah Sang. See also prints 30 and 44. Another copy at Photo 98 (30). View looking along the river valley. View looking along the river valley towards distant mountains. Faded print. View looking along the river valley towards the peak. View looking along the river with three figures posed on the bank in the foreground, trees and hills beyond. The original caption incorrectly describes this as a view of the 'Jhelum'.[Albumen print, signed 'Bourne' in the negative, 286x387mm]. View looking along the road, with a group of tribesmen posed in the foreground and with the military post on the hillside to the right.[Signed 'Holmes 113' in the negative, 290x241mm]. View looking along the road, with a servant standing in the foreground. View looking along the road, with figures posed in fore- and middleground. No. 56 in Burke catalogue of Afghan War views. View looking along the road, with the Karaca Ahmet Cemetery on the left.[Albumen print, 324x261mm]. View looking along the road, with travellers approaching. View looking along the road beside the Tali River, with the fort on the far bank. For a duplicate of this print, identifying location, see Photo 92/2 (70). Photographed during Scott's work with the Burma-China Boundary Commission.[Albumen print, 241x195mm]. View looking along the road encircling Lhasa, around which pilgrims make a perambulation. With the Potala in the background. Faded print. View looking along the road leading into the bazaar, with mountains in the background. Print unsigned, but probably by Bremner. A tightly rolled print.[Albumen print, 275x206mm]. View looking along the road leading to the pass, with a camel caravan in the foreground.[Captioned and signed 'Holmes 2' in the negative, 290x235mm]. View looking along the road looking towards the fortified post sat at the summit of the Bala Burj. Duplicate at Photo 430/2 (94). View looking along the road looking towards the tank. View looking along the road through the pass, with soldiers posed in the foreground. No. 66 in Burke catalogue of Afghan War views. View looking along the road towards a cluster of temple pagodas, with zayats (resthouses) in the foreground. Scott was based at Mong Nai from 10-22 February and his diary for the period mentions the taking of a number of photographs.[Albumen print, 237x162mm]. View looking along the road towards a group of pagodas.[Printing-out paper, 92x72mm]. View looking along the road towards an unidentified fort. With a mule caravan in the foreground.[Gelatin silver print, signed 'Holmes' in the negative, 284x114mm]. View looking along the road towards a rock overhang, with donkey carts on highway.[Albumen print, 268x198mm]. View looking along the road towards a village. View looking along the road towards bungalow and ridge, with the reservoir known as Khushdil Khan's Band at the left. Khushdil Khan is about ten miles north-east of Pishin. View looking along the road towards the bandstand (partially obscured by trees), with the Exchange and New Medical Hall in the foreground. View looking along the road towards the fort. View looking along the road towards the fort (slightly distant). View looking along the road towards the houses of Kasauli on the hillside, with an Indian group posed in the foreground.[Albumen print, 244x190mm]. View looking along the road towards the pass.[Printing-out paper, 150x111mm]. View looking along the road towards the point where Teague-Jones's path was held up by the dead camel (see print 82).[Gelatin silver print, 139x90mm]. View looking along the road towards the stupa.[100x73mm]. View looking along the roadway, lined with thatched buildings on either side, with Inle Lake visible in the background.[Albumen print, 176x113mm]. View looking along the roadway leading up to the Palace.[Albumen print, 83x96mm]. View looking along the roadway lined with Afghans towards a domed gateway. A photograph of this location published by Bourne and Shepherd describes it as 'Char Su, the point to which the roads from the principal gates converge - the scene of Capt. Willis' murder by a Ghazi.'[Albumen print, oval image, 230x173mm]. View looking along the roadway towards the tents. View looking along the road which clings to the sheer cliffs of the gorge.[Gelatin silver print, 243x183mm]. View looking along the road winding down through the trees, with a European and an Indian figure in the foreground.[Albumen print, 192x244mm]. View looking along the rope bridge across the Indus.[Silver printing-out paper, 98x120mm]. View looking along the ruined walls of the fort towards the mausoleum, here seen with with upper storey shrouded in scaffolding. View looking along the Salween, with the boundary commission camp in the foreground.[Albumen print, 240x185mm]. View looking along the Salween. Loose print removed from album.[Albumen print, View looking along the Salween towards its confluence with the Nam Hka, which falls into the river in a dramatic cascade. Ta Man Hsum is not listed in Scott's Gazetteer, but is a point some 25 miles north of Takaw. View looking along the Sarda or Kali River, the boundary between Nepal and Kumaon.[Albumen print, 136x96mm]. View looking along the scarp of the hill. The fort is not visible. View looking along the sea wall of the fort. View looking along the sheer cliffs of the ridge. The typescript caption follows Stein's negative notebooks, but pencilled corrections reverse the orientation on the label. View looking along the sheer-sided gorge, with sentries posted along the route. 'Another point on the caravan route. A remarkable work of nature but a potential death-trap rendered harmless by a strong advance guard posted a few paces from each throughout the length of the gorge.'[Gelatin silver print (modern print), 128x193mm]. View looking along the shop-lined canal canal, with wallums moored in the foreground. Print unsigned, but probably by D'Cruz. View looking along the shore of Yamdrok Tso towards the fort.[Gelatin silver print, 141x92mm]. View looking along the side of the bridge, showing four spans of girders in position.[Printing-out paper, dated '8-3-14' in the negative, 205x157mm]. View looking along the side of the Ganges Canal aqueduct over the Solani River. With the Government workshops on the further bank. View looking along the side of the ravine, with the line of the railway just visible at the right. Duplicate of Photo 1000 (4035). View looking along the side of the rock face leading down to the river Betwa, with sculpture niches in the foreground. View looking along the Sind River towards distant mountains.[Silver printing-out paper, 103x76mm]. View looking along the Sind River towards the glacier. View looking along the Sind Valley and River towards glaciers. Inscribed in pencil on reverse: '755. Sind Valley Glaciers.'[Albumen print, 276x206mm]. View looking along the Sisseri river towards a rope suspension bridge of a similar type to that seen in prints 39 and 41. Mishmi group in foreground. View looking along the slope of the hill, with a light railway carrying trolleys running down the hillside.[Printing-out paper, 311x252mm]. View looking along the sluices, with the river beyond.[Printing-out paper, 368x286mm]. View looking along the snow-covered pass. View looking along the snow-covered valley. View looking along the streambed towards the girder bridge, situated about two miles south-west of Harangajao Station. View looking along the stream separating the house and park. View looking along the stream towards the bridge, probably on the Mu Valley State Railway. A faded print.[Albumen print, 123x193mm]. View looking along the street from the upper storey of a building. View looking along the street from the upper storey of a building. View looking along the street lined with small wooden houses.[Silver printing-out paper, 102x75mm]. View looking along the street of traders' shops from above. View looking along the street towards a mausoleum. Soldiers lined up, on the side of the street and in front of the mausoleum.[Albumen print, 309x380mm]. View looking along the street towards the gateway. View looking along the Sutlej towards mountains. View looking along the Swat River towards Bala Hissar, from Mir Ziarat Dheri. Illustration reproduced in John H. Marshall, Excavations at Charsada in the Frontier Province (A.S.I. Annual Report 1902-03, Calcutta, 1904), fig. 1, p. 141. View looking along the tank, which lies a few miles north-west of Polonnaruwa.[Albumen print, signed 'Lawton' in the negative, 283x215mm]. View looking along the Tista. View looking along the Tista River. View looking along the track towards a welcoming committee carrying banners and horns. View looking along the track towards snow-covered peaks. With travellers (presumably part of Bell's group) on the road in the foreground. View looking along the track towards the approaching locomotive, with vertical rock-face at the right and a sheer drop on the left. View looking along the track towards the grandstand. View looking along the track with the reversing siding centre left. View looking along the tree-lined Dal Canal, with Takht-i-Sulaiman hill visible in the distance.[Albumen print, signed 'Bourne 843' in the negative, 195x109mm]. View looking along the tree-lined road. View looking along the unsurfaced road. Letterpress continues: 'It is a very picturesque drive along the ent[i]re has been planted with large pine trees - on the hill is His, Excellency the Governor's summer residence, at the right can be seen Hongkong, and just above it is the Victoria Peak.' View looking along the upper part of the hill station, with bungalows dotted over the hillside. View looking along the valley, lined on either side of the Kaying Jilga with deodars, with mountains beyond.[Gelatin silver print, 221x295mm]. View looking along the valley, with the levelling party (armed with measuring poles and theodolites) standing in foreground. Duplicate at Photo 481/1 (48). View looking along the valley. Duplicate of Photo 1000 (4045). View looking along the valley. View looking along the valley. View looking along the valley. Very faded print. Another copy (in better condition) is at Mss Eur F157/484 (84). View looking along the valley and towards the Sonamarg Glacier.[Gelatin silver print, 164x118mm]. View looking along the valley at Mong Ka in Yunnan. Duplicate of Photo 92/1 (35), part of a panorama photographed during the Burma-China Boundary Commission. View looking along the valley towards distant snowy peaks, with the camp in the foreground. Pencilled caption at side of print reads: 'Looking up Niatu.' View looking along the valley towards mountains.[Albumen print, signed 'Bourne 1534' in the negative, 310x190mm]. View looking along the valley towards mountains. View looking along the valley towards the palace at Leh, with mountains beyond. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 103, there titled, 'Leh, capital of Ladak, 11,500 feet'. View looking along the valley towards the villages, with a distant view of the ruined Buddhist stupa seen in print 41. No. 39 in Burke catalogue of Afghan War views. View looking along the viaduct under construction. View looking along the Wainganga, with Mary Ramsden standing in foreground. View looking along the walk, which runs along the bank of the Hugli (visible in left background). The railings in the right foreground are those surrounding Lady Canning's Tomb.[Platinum print made c. 1900, signed 'Bourne 1744' in the negative, 317x182mm] View looking along the wall of the regulator, showing water flowing into the canal.[Printing-out paper, 294x212mm]. View looking along the walls of the fort from the ramparts, with the city below.[Carbon print, 93x84mm]. View looking along the waterfront, with local coasting craft at their moorings.[Albumen print, 99x74mm]. View looking along the waterfront, with the Grand Hotel des Pays Bas in the foreground and the lighthouse in the background. Signed in negative 'H.A.' View looking along the waterfront, with the mail steamer anchored offshore beyond a fleet of local lateen-rigged sailing craft. View looking along the waterfront.[Gelatin silver print, 177x135mm]. View looking along the waterfront towards Fort and Lighthouse. View looking along the waterfront towards the cathedral. View looking along the wharf, with the Royal Indian Mail Steamer Dufferin moored at the right. View looking along the wharves, with a hospital ship moored at left. Poor quality print. View looking along the wide valley, with monastery buildings in the foreground. View looking along the willow avenue that divides the lake into two parts. View looking along the wooded ridge, with the Commissioner's bungalow in the left foreground.[Albumen print, 239x188mm]. View looking along the woodland road, with a bhisti carrying his water skin in the foreground.[Silver printing-out paper, 115x178mm]. View looking along thickly wooded mountainside. Duplicates at prints 35 and 36. Caption taken from pencilled note on back of print 36.[Albumen print, 164x101mm]. View looking along track. View looking along trench, with diggers at work. (Ancient Persis Map, B3). View looking along valley, with buildings in foreground.[102x78mm]. View looking along valley, with remains visible on the hillside. View looking along valley, with tent on hillside in foreground. View looking along valley, with terrace cultivation and a fort in the foreground and mountains in the distance.[Gelatin silver print, 254x308mm]. View looking along valley at Sesko towards mountains, with tents pitched in foreground. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 59, there titled, 'Camped at Sesko'. Another copy at Photo 364/1(37). View looking along valley road, with washermen at work in the river beside the highway. Photo 355/1 (32), captioned as above, is almost identical to this view and evidently taken on the same occasion. View looking along valley road towards mountains. View looking along valley towards glacier.[Silver printing-out paper, 155x110mm]. View looking along valley towards glacier. View looking along valley towards glacier. View looking along valley towards hills.[95x71mm]. View looking along valley towards mountain peaks. View looking along valley towards mountains.[Albumen print, numbered '3186' in the negative, 283x223mm]. View looking along valley towards peaks. View looking along valley towards peaks. View looking along valley towards village. View looking along wall, with cellular block in position.[Gelatin silver print, 202x151mm]. View looking along wall. View looking along winding river valley towards Gyangze. View looking alpong a shaded avenue of trees, with the church in the distance. Due to fading of print, the building itself is largely invisible. View looking aong hillside, showing the mouths of caves. View looking aong the bazaar street. The mud daub roof, supported on a wooden framework, is largely collapsed. View looking a river, a tributary of the Khanki River. View looking a street towards the gateway seen in the prceding prints. The two storey arcades running along each side of the street may be part of the palace. View looking a stretch of flooded land, with the top of a pagoda spire visible above the trees in the background. Possibly taken on the same occasion as print 101.[Gelatin developing-out paper, 155x107mm]. View looking a village street, with bamboo fencing on either side and thatched houses beyond. Photographed during the Second Wild Wa Expedition. View looking a village street in Demagiri. View looking back along the pass. View looking back down the 132 steps which lead to the summit. View looking back down the valley. View looking back down the valley. Typescript notes read: 'This is looking back from the other way, amd [sic] our camp was eventually just among the trees on the left. Actually the ponies and kit were waiting somewhere among them when I took the picture, but I can't spot them'. View looking back from the top of the pass, towards snow-covered peaks. View looking back towards Bandipur, a rose bush in the foreground. View looking back towards Bandipur. View looking back towards village. View looking between monasteries buildings to the valley beyond.[Gelatin silver print, 92x141mm]. View looking between two rows of table , with awnings above. View looking bridge. Box girder being lowered into position. Water damage along right hand edge. Print stuck to print 162. View looking directly across the valley towards ruins on the further side. View looking directly down into one of the excavated pits at Raigir, with E.H. Hunt, another European and an Indian seated around the open cist tomb at the bottom. A partially exposed skeleton lies inside the cist.[Gelatin silver print, 103x60mm]. View looking down a hill towards the distant barracks. View looking down a long street with shops on either side. View looking down along valley, with party of travellers in foreground.[Gelatin silver print, 76x99mm]. View looking down a narrow street towards the harbour. View looking down a narrow street with stalls selling foodstuff down either side. The size and tone of the print is similar to Print 80 which possibly makes it a view in Chandannagar. View looking down an incline to valley floor. View looking down a path to the memorial well at the end. View looking down a road through the woods, with a rickshaw and pullers standing in the foreground.[Printing-out paper, 293x210mm]. View looking down a street with shops on each side, a hill looms over the scene in the background. A gateway at the end of the street may be the entrance to a fort. View looking down a street with some kind of roadworks in progress. View looking down a tree-lined road. View looking down Esplanade Road towards Watson's Hotel the right. View looking down from hills. View looking down from hillside. View looking down from hillside onto open area surrounded by spectators. Small snapshot. View looking down from mountainside. View looking down from neighbouring hillside. View looking down from the head of the pass onto the party c;imbing up. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 46).[Gelatin silver print, 289x219mm]. View looking down from the Raj Mahal to the tank below. View looking down hillside. (Ancient Persis Map C3). View looking down hillside onto campsite. View looking down hillside towards camp. Poor quality print. View looking down hillside towards trees.[101x77mm]. View looking down into a gorge. View looking down into a valley. View looking down into a valley. View looking down into a valley. View looking down into excavated area of rooms. View looking down into excavated grave. (Ancient Persis Map C3). View looking down into excavated pit, showing bodies. View looking down into excavated pit, showing the exposed cist.[Silver printing-out paper stereoscopic print, 154x75mm]. View looking down into excavated pit. View looking down into excavated trench, with artefacts photographed with measure in find-spot. (Ancient Persis Map B2). View looking down into foundation pit, showing construction work in progress.[Printing-out paper, 285x211mm]. View looking down into foundation pit, with work in progress.[Printing-out paper, 293x214mm]. View looking down into foundation pit under construction.[Printing-out paper, 291x217mm]. View looking down into pit, where excavation work is in progress. View looking down into pit, with construction work in progress.[Printing-out paper, 289x217mm]. View looking down into pit, with labourers at work.[Printing-out paper, 288x213mm]. View looking down into stream. View looking down into the gorge. View looking down into the river gorge, towards the town on the plateau beyond. Suspension bridge across the Ravi in the foreground. View looking down into the river gorge. View looking down into the valley. See previous print. View looking down into the valley. View looking down into the valley and towards distant mountains. View looking down into the valley towards a campsite. View looking down into the wooded ravine where Captain Edward Maxwell West and his party were attacked on 26 March 1927, with the loss of three lives. It was this ambush which precipitated the punitive burning of villages seen in earlier prints in this series.[Gelatin silver print, 131x81mm]. View looking down into trench, showing skeleton and pottery artefacts. (Ancient Persis Map C3). View looking down into valley. View looking down into valley. View looking down on a caravan passing along a road. View looking down on a lake. View looking down on dam at head of the lake at Bhim Tal. View looking down on parked car, with the road winding through the hills beyond.[Gelatin silver print, 313x225mm]. View looking down on rail routes and camp leading to the Incline in the distance. Two figures are under a tree in the left foreground. View looking down on the bungalow perched on the side of Penang Hill and surrounded by jungle. Photograph probably by Feilberg. View looking down on the cantonment. View looking down on the city. View looking down on the line and the station. View looking down on the Mall with rickshaws drawn up on the right. View looking down on the newly-built loop on the line of the Darjeeling Hill Railway at Chunbhati. Construction has evidently only just finished, or is possibly still under way, since labourers' houses are still in position in the centre of the loop. View looking down on the racecourse during an event. View looking down on the river at Chamoli. View looking down on the town with the jalsa taking place on the Chaugan. Duplicate at Photo 430/30 (5). View looking down onto a bridge across the river. View looking down onto a cantonment area. In the background the location of the 'Brucepet Tank' is marked on the print. View looking down onto a caravan of donkeys and camels on the road through the pass.[Captioned and signed 'Holmes 66' in the negative, 288x240mm]. View looking down onto a collection of buildings at the water's edge.[(?)Collodion printing-out paper, 156x109mm]. View looking down onto a fishing boat moored at the bank of the West River.[Hand-coloured albumen print, 271x212mm]. View looking down onto a locomotive and rolling stock crossing a viaduct near Fort Maude.[248x151mm]. View looking down onto and across the bridge.[Silver printing-out paper, 98x120mm]. View looking down onto and along a crowded street.[Gelatin silver print, 98x78 mm]. View looking down onto and along the Jumna at Srinagar, with the Third Bridge in the foreground. Beyond can be seen the Shah Hamadan Masjid and Hari Parbat Hill and fort.[Gelatin silver print, 284x211mm]. View looking down onto and along the lake, with the town in the foreground. Print in poor condition.[Silver printing-out paper, 188x150mm]. View looking down onto and along the lake. Poor quality print. View looking down onto and along the Mishmi cane bridge over the Dibang River from one side. Reproduced in No Passport to Tibet, facing p. 48. View looking down onto a pool, framed by trees and rocks, with figures posed in the foreground. See Photo 53 (32) for a similar composition by Robert and Harriet Tytler. View looking down onto a procession crossing a bridge over the moat.[Silver printing-out paper, 156x109mm]. View looking down onto area surrounding Assembly Rooms. View looking down onto a stone bridge across the river near Kangra. View looking down onto a train crossing a viaduct on the Kalka-Simla line.[Gelatin silver print, 145x173mm]. View looking down onto a village and suspension bridge across a river View looking down onto Bailey's camp on the bank of the Tsangpo. View looking down onto bodies lying in excavated pit. View looking down onto camp, with Kabul River beyond.[Platinum print, 290x234mm]. View looking down onto camp. No. 9 in Burke catalogue of Afghan War views. View looking down onto camp. Small snapshot. View looking down onto camp on the riverbank. View looking down onto campsite. View looking down onto car and road.[Printing-out paper, 142x83mm]. View looking down onto Chatham Island from the neighbouring hillside. Photograph probably by W.W. Hooper. Carbon print. View looking down onto cist tomb, which is surrounded by pottery.[109x149mm]. View looking down onto embankment and line under construction. View looking down onto encampment of boundary commission baggage train.[Gelatin silver print, 140x82mm]. View looking down onto encampment of tents in the Indian military base camp.[Silver printing-out paper, 177x126mm]. View looking down onto encampment of tents in the Indian military base camp.[Silver printing-out paper, 207x150mm]. View looking down onto enclosed temple complex. Prints 47-48 form a panoramic view of the temples. View looking down onto excavated area. View looking down onto excavated cist tomb surrounded by pottery.[Gelatin silver print, 155x108mm]. View looking down onto excavated room. View looking down onto exposed cist tomb.[152x102mm]. View looking downonto extensive terrace cultivation on the hillside below Kasauli.[Albumen print, 243x216mm]. View looking down onto falls on the Tambraparni River. View looking down onto fortress, with river beyond. Innermost Asia, vol. 2, fig. 412: 'Southern ridge of Qala-i-qa'qa, seen from east.' View looking down onto ghats on the Godavari River at Nasik, with the banks crowded with pilgrims. Captioned on reverse: 'Hardwar? Magh Mela.' View looking down onto glacier junction.[Gelatin silver print, mounted on card with typescript caption, 231x304mm]. View looking down onto gorge. Poor quality print. View looking down onto group of longhouses in clearing.[Gelatin silver print, 131x81mm]. View looking down onto houses below the Ridge.[Albumen print, 243x193mm]. View looking down onto lake, with peak beyond. View looking down onto lake, with ruined buildings in foreground.[Gelatin silver print, 141x92mm]. View looking down onto line of moles stretching out from shore. View looking down onto lower fort, with cultivated fields beyond. View looking down onto monastery buildings set among densely wooded hills, probably in the Sagaing Division.[Cyanotype, 152x107mm]. View looking down onto Nuwara Eliya from the surrounding hills. View looking down onto parade ground and stables.[Albumen print, 179x116mm]. View looking down onto partially excavated remains. With measuring scale. View looking down onto path and flowerbeds. View looking down onto pier foundations under construction on the bank of the Daung yu River, probably near its junction with the Mu River.[Albumen print, 116x92mm]. View looking down on to plain from mountains. View looking down onto ridge from Bonnie Moon. View looking down onto river. Small snapshot. View looking down onto river. View looking down onto river and bridge, with men and pack animals crossing. View looking down onto river and gorge. View looking down onto river and small footbridge.[Silver printing-out paper, 120x96mm]. View looking down onto river and small wooden footbridge. View looking down onto river running through land denuded of trees and planted out with coffee. The caption points out 'Two coolies in foreground on the right of a very picturesque rapid.'[Albumen print, 278x219mm]. View looking down onto riverside camp, with the Salween beyond and a village on the far side.[Albumen print, 240x185mm]. View looking down onto road and narrow-gauge railway line, with bullock carts in the foreground. The Himalayas can be seen in the distance on the horizon.[Albumen print, 237x232mm]. View looking down onto ruined bridge, with a newer one built beside it. Faded print.[152x98mm]. View looking down onto ruins, with plains beyond. (Ancient Persis Map, B3). View looking down onto section of the crowd gathered in the bazaar at Kalimpong for the mela or fair. View looking down onto site, with excavation work in progress. View looking down onto stream, with an orchard of apricot trees beyond andf mountains in the background.[Silver printing-out paper, 98x120mm]. View looking down onto stream. View looking down onto sweepers' quarters from hillside above.[135x79mm]. View looking down onto swimming pool from hillside above.[Gelatin silver print, 135x79mm]. View looking down onto tarn, with mountains beyond. Caption taken from duplicate at print 21.[Gelatin silver print, 178x134mm]. View looking down onto the [?]Tshogna Lake. View looking down onto the Arsenal and Victualling Yard. View looking down onto the bay. View looking down onto the bazaar. View looking down onto the bazaar area. View looking down onto the boats moored at the riverbank. View looking down onto the Bosphorus from the Asiatic side.[Albumen print, signed 'Abdullah Fr�res' in the negative, 249x200mm]. View looking down onto the boundary commission tents, pitched in jungle beside a small stream. The European standing in front of one of the tents is possibly Scott.[Albumen print, 188x240mm]. View looking down onto the brewery buildings. View looking down onto the bridge, with a camel caravan on the farther side. No. 35 in Burke catalogue of Afghan War views. View looking down onto the bridge, with covered gatehouses at each end. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 48. View looking down onto the bridge. Cyanotype print. View looking down onto the bridge. View looking down onto the bridge. View looking down onto the bridge. This print is reproduced in Scott's Burma and Beyond.(London, 1932), facing p.22. See also Photo 92/6 (45) for a more general view of the bridge. Another view at Photo 92/8 (7). View looking down onto the bridge across the Chambal near Rampura. View looking down onto the bridge across the Chandra River seen in print 20, with the monastery visible in the distance on the other side. View looking down onto the bridge across the Dras River.[Silver printing-out paper, 122x97mm]. View looking down onto the bridge across the Indus at Bunji. View looking down onto the bridge and gorge View looking down onto the buildings of Fort Stedman, with Inle Lake beyond. Duplicate at Photo 92/5 (54).[Albumen print, 178x118mm]. View looking down onto the camp, with the plain beyond. View looking down onto the cane footbridge over the Tista. Faded print. View looking down onto the cantonments, with the Ravi River beyond. View looking down onto the cemetery, enclosed by a stone wall, situated at the north-west corner of the Sherpur Cantonment. Other copies at Photo 98 (49) and Photo 449/1 (17). View looking down onto the church and churchyard, with a bungalow (presumably the incumbent's house) in the foreground. Photograph probably by Feilberg. View looking down onto the city from Amber Palace. View looking down onto the city of Victoria, with the harnour beyond and Kowloon in the distance. Handwritten notes on the album page identify the following landmarks: Cosmopolitan Docks, Kowloon peninsula, Hong Kong Docks, Roman Catholic Cathedral, Hong Kong and Shanghai Bank, Government House, tennis courts of the Ladies Recreation Club, City Hall, Cricket Ground, Anglican Cathedral, Government Offices, filter beds and service reservoir of the Tytram Waterworks.[Albumen print, 274x205mm]. View looking down onto the courtyard of the resthouse, with carts being prepared for the journey. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 246).[Gelatin silver print, 300x229mm]. View looking down onto the crowd gathered near the course. Possibly taken during the visit of the Viceroy Lord Curzon to Kashmir in 1902 (see print 106). View looking down onto the eastern section of the Sherpur Cantonment. View looking down onto the enclosed park area. View looking down onto the farm and outlying sheep-pens, with mountains beyond. Caption note continues: 'Note pine-forests coming up to the skyline in the alpine region; pines do not grow on south-facing slopes in this country.' Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 226).[Green-toned gelatin silver print, mounted on card, 292x181mm]. View looking down onto the filter beds in the course of construction. The location of Bowen Road in the left background is marked on the album page.[Albumen print, 291x235mm]. View looking down onto the fort. View looking down onto the fort at Loe Dakka, with Lalpura visible in the distance on the farther side of the Kabul River. Pickets posed at sentry post in left foreground. No. 90 in Burke catalogue of Afghan War views. View looking down onto the ghats on the Tambraparni River at Papanasam. View looking down onto the ghats on the Tapti (Tapi) River. View looking down onto the girder bridge. View looking down onto the glacier. View looking down onto the group of tombs.[Gelatin silver print, 311x232mm]. View looking down onto the harbour, with wharves and railway quay. Emmahaven is now know as Telukbayur[Albumen print, 277x212mm]. View looking down onto the harbour at Shau Kei Wan.[Printing-out paper, 93x70mm]. View looking down onto the houses of the resort. Some of the buildings in the foreground appear to have been destroyed by a fire or other calamity. View looking down onto the Jumna River, here crossed by a rope bridge. Another copy of this photograph can be found at Photo 1143/1 (26). For a note on the photographer attribution, see collection introduction. View looking down onto the junction of Esplanade and Chowringhee Road, with the Dhurrumtollah Tank in the foreground. Prints 21-24 form a panoramic view of Chowringhee Road. View looking down onto the lake and Bund. View looking down onto the lake and oriental library.[Albumen print, 275x217mm]. View looking down onto the line, precise location unidentified. View looking down onto the line, with train crossing a stone viaduct. View looking down onto the line and towards the Louise Margaret Bridge and tunnel beyond.[Gelatin silver print, 206x297mm]. View looking down onto the locomotive negotiating the loop. View looking down onto the lodge buildings, with the tank beyond.[Albumen print, numbered '3693' in the negative, 271x209mm]. View looking down onto the loop of the Darjeeling Hill Railway. View looking down onto the market square from the upper storey of a house. View looking down onto the Mutha River, with the town and cantonment visible in the distance.[Albumen print, 230x187mm]. View looking down onto the narrow ridge on which stand the remains of the circular fort. Archaeological Tour in Waziristan, fig. 21. View looking down onto the northern end of the lake, from an elevated point above the west shore. With the Assembly Rooms in the foreground and the Bazaar area beyond. View looking down onto the parade ground or chaugan during the jalsa. The Rang Mahal Palace overlooks the parade ground on the right (north-east corner) and the Sham Singh Hospital is visible at the far end of the chaugan. View looking down onto the pavilions lining the bund on the bank of the Anar Sagar, with the Daulat Bagh beyond. Printed from a broken glass plate. Bloch's list for prints 1543-1546 appears to be under the impression that Anar Sagar is a coastal town, and that the lake is therefore the seashore. View looking down onto the pavilions lining the bund on the bank of the Anar Sagar, with the Daulat Bagh beyond. Printed from a broken glass plate. Bloch's list for prints 1543-1546 appears to be under the impression that Anar Sagar is a coastal town, and that the lake is therefore the seashore. View looking down onto the power station. View looking down onto the raging waters of the falls. According to the account in No Passport to Tibet (pp. 125-6), Bailey first encountered and photographed the falls on 20 July: 'Then I found a path leading down to the Tsangpo at the end of which I could see a cloud of spray. I went down the path half a mile, dropping about 400 feet. I first went out on to a rock about 100 feet above the water, which was rushing through a narrow chasm about 50 yards wide. To my left there were violently swirling rapids, below and to the right the river plunged over a ledge and dropping about thirty feet sent up clouds of spray which formed a cloud about twenty feet above the top of the fall. Morshead, who came to it later in the day, saw a rainbow in it and since the Tibetans had no name for it we nicknamed it the Rainbow Fall. I took some photographs from the rock and then I climbed down and took another photograph from river level just above the fall.' These are the falls described by the Survey of India employee Kintup, who in 1879 had been sent out as the servant of a Mongolian monk to explore the course of the Tsangpo below Gyala (Kintup was subsequently sold by the monk as a slave and only escaped back to India after several months' hardship). View looking down onto the railway bridge, with the Jatinga River beyond. View looking down on to the river, mountains in the distance. View looking down onto the river, the Gersoppa Falls not visible. View looking down onto the river, with a group of soldiers crossing by a small footbridge.[Photogravure, 149x113mm]. View looking down onto the river, with bridge in foreground. View looking down onto the river, with rafts and boats crossing.[Gelatin silver print, 131x81mm]. View looking down onto the river, with the railway line in the foreground. View looking down onto the river. Adjoining section of panorama untraced. Identification uncertain: the village does not appear to be included, at least in this section of the panorama. Innermost Asia, vol. 2, fig. 393: 'Ab-i-panja, with alluvial fan of Dara-i-panja on left bank, seen from Zangibar.' View looking down onto the river. View looking down onto the river and bridge. Print reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.280. View looking down onto the river from a building near the Howrah Bridge. At the extreme left is part of Chotulal's Ghat with Mullick's Ghat (the cast-iron structure) a little further north. See also print 22. Print unsigned, but probably by Johnston & Hoffmann. View looking down onto the river from the courtyard of Aurangzeb's Mosque, with the Bridge of Boats in the distance. A very faded print.[Albumen print, 80x96mm]. View looking down onto the River Mula at Poona (Pune). View looking down onto the River Tapti (Tapi), with the walls of an unidentified ruined building in the left foreground. View looking down onto the river valley. Part of the caption is obscured by the print being pasted over it. This location appears in several views (144, 152, 154, 155, 156) with a number of variant spellings. View looking down onto the road, with houses and forest beyond.[Albumen print, 241x180mm]. View looking down onto the road and railway bridge over the Indus. View looking down onto the road through the gorge at Ali Masjid.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 241x292mm]. View looking down onto the road through the pass, with a group of soldiers posed in the foreground. No. 34 in Burke catalogue of Afghan War views. View looking down onto the Salween, largely concealed by the steep, thickly-wooded banks of the river. View looking down onto the sheepyard, enclosed by a stone wall. '...great care is taken to keep these sheepyards clean, much more care than in keeping clean the places of human habitation. For these people live by their flocks and herds. In the background Ra-lung village.' View looking down onto the site, with the Indus beyond. View looking down onto the small British cemetery just outside the north-west corner of the Sherpur Cantonment. Duplicate at Photo 430/3 (54). View looking down on to the sports ground. View looking down onto the station, with a train approaching on the right. View looking down onto the View looking down onto the tank and onto the hill from which print 90 was taken. Caption notes read: 'The legend runs that Bhadrabahu, a guru of great sanctity, in consequence of a dreadful famine which he had predicted, led a large number of his followers south from Ujjayini and here, overcome by the fatigues of the journey combined with old age, ordered his people to go on whilst he remained with his chief disciple, the great emperor Chandra Gupta, and expired in a cave on the hill, named Chandragiri after the emperor.' View looking down onto the tennis, where a Euopean group is gathered.[Albumen print, 204x150mm]. View looking down onto the tennis court, where a game is in progress.[Albumen print, 210x152mm]. View looking down onto the tents of Stein's staff in the Mohand Marg camp. View looking down onto the thatched cottage and garden from the hillside above. Harriet Tytler mentions the cottage several times in her memoirs as their only substantial possession that survived the Mutiny.Size: 475 (w) x 386 (h) mm. View looking down onto the thatched houses of the village on the banks of the Shweli River.[Printing-out paper, 97x73mm]. View looking down onto the the narrow bridge across the Astor River near its junction with the Indus View looking down onto the third loop in the line, at 'Agony Point' north of Tindharia, with a train half-way round. Duplicate at Photo 640 (12).Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. View looking down onto the tiny hamlet. View looking down onto the tombs of Zar Zari Baksh (distant) and others at Rauza. Duplicate (later print) at Photo 97 (39). View looking down onto the town, with the Irrawaddy beyond. View looking down onto the town. This view links up with print 93b to form a panoramic view.[Albumen print, 142x89mm]. View looking down onto the town from above. View looking down onto the troop deck as the Egra approaches the quayside. View looking down onto the viaduct, with construction work still in progress, and a locomotive on the further side. Duplicate at Photo 383/2 (17). View looking down onto the viaduct. Similar view at Photo 383/1 (8). View looking down onto the village, with dhows in the harbour beyond.[Silver printing-out paper, 212x153mm]. View looking down on to the village. View looking down onto the waterfall. View looking down onto the waterfront and harbour. Collotype reproduction. View looking down onto the winding road, with a convoy of (army?) lorries ascending the pass, and a camel caravan in the background. View looking down onto the winding road, with a long caravan moving up the pass.[Gelatin silver print, 138x81mm]. View looking down onto the winding road towards the plain beyond, with a number of motor vehicles (probably military) ascending the pass.[Signed 'Holmes 4' in the negative, 294x243mm]. View looking down onto timber rafts at the river bank.[Gelatin silver print, 133x76mm]. View looking down onto urn in excavated pit. View looking down onto village. View looking down onto village longhouses.[Gelatin silver print, 131x81mm]. View looking down on valley floor. See notes with Print 1. View looking down over the city. View looking down over the rooftops. View looking downriver. View looking down slope towards stream and pool. View looking down the funicular tramway towards Victoria and the harbour. View looking down the garden, with mountains in the distance.[Silver printing-out paper, 92x119mm]. View looking down the gorge. View looking down the hillside towards the resting Naga porters, who are seated beside a cultivated patch of dry rice. View looking down the lake from north to south. View looking down the length of the street. View looking down the pass, with porters struggling up through the snowfield. At this time this photograph represented the highest point from which a successful photograph had been taken. View looking down the quay towards a moored paddle steamer. The location is unspecified, but the photograph was probably taken at the same location as prints 19-20, which appear to show activity at a mela, possibly the Allahabad Kumb Mela.[Albumen print, 148x100mm]. View looking down the river valley. View looking down the snow slope towards the baggage trains in the distance.[Silver printing-out paper, 120x97mm]. View looking down the steep-sided pass. View looking down the street, with fortified gateway in foreground. View looking down the terraced waterways towards the lake. View looking down the valley. View looking down the Valley. View looking down the valley from a village. View looking down the valley towards Baghanwala. View looking down to a valley with scattered brick bungalows. A figure is sitting under a tree in the right foreground. View looking down towards the landing place at Moda, with a paddle steamer and flat approaching.[Printing-out paper, 93x64mm]. View looking east. View looking east along Strand Road, with the Rangoon River on the right. View looking east along the ridge towards the main part of the town, with Christ Church visible in the distance. Inverarm, presumably the bungalow in the foreground, was situated a little to the east of Peterhof.. View looking eastwards across the Golden Horn towards the Arsenal dockyard.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x199mm]. View looking eastwards across the lake (?from Toad Rock) towards the town. View looking eastwards across the tank. View looking eastwards along the Mall, towards Christ Church in the distance. Among the shops in the left foreground is the Simla branch of the photographers Johnston & Hoffmann. View looking eastwards along the Mall, with the Johnston & Hoffmann studio in the centre. The mail tonga is in the roadway in the centre foreground. View looking eastwards along the Ridge towards Jakko. View looking eastwards along the south side of the ridge towards Christ Church, with Jakko beyond.[Albumen print, 292x222mm]. View looking eastwards along the Strand, with Holy Trinity Church in the left foreground. Beyond are the Chief Commissioner's Office, the Courts and Public Offices and the Custom House (extreme distance). This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), p.572. Photograph unsigned, but probably by J. Jackson. View looking eastwards from the Rabajai Tower towards the habour, with St Thomas's Cathedral and the Elphinstone Circle in the middleground, and the Town Hall visible in the background. View looking eastwards over the Fort district towards the harbour from the Rajabai Tower. The junction of University Road with Esplanade Road is in the foreground, with St Thomas' Cathedral and Elphinstone Circle beyond. View looking eastwards over the valley towards Zhob, with the decayed juniper tree, reputedly 1000 years old, in the foreground. Reproduced in Frederick Bremner's Baluchistan illustrated 1900 (Quetta, c.1900, IOL V.6553). View looking eastwards towards Chowringhee Road. This print links up with print 5 to form a panoramic view, and is probably part of a wider panorama. View looking eastwards towards Kabul. This print links with print 19 to form a panoramic view. Duplicate (in better condition) at Photo 197 (13 [right hand portion]). View looking from desert towards fortifications, a group in the middleground. View looking from river bed to distant glacier.[Albumen print, signed 'Bourne' in the negative, 292x237mm]. View looking from the fort to shipping on the Hugli. View looking from the fort with evidence of damaged buildings below. View looking from the tracks towards the station. Two minarets tower over the platform on the left. They are all that remain of a mosque destroyed by the Marathas in the 18th century. View looking in a south-easterly direction towards the edge of the town. Part of the Frere Hall can be seen at the extreme right. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. View looking into mouth of urn containing humain remains. View looking into pit and showing exposed cist tomb. Typewritten note reads: 'The boulder has been moved, and the east side-stone turned outwards. Note base of ladder stand. June 12 1926.'[152x113mm]. View looking into the tank near the Manikarnika Ghat. Stereoscopic pair. View looking North across Study Court. View looking north across the Maidan from Chowringhee Road towards Government House (somewhat distant) and the other buildings along Esplanade Row. The High Court can be seen in the distance at the extreme left of the photograph. Although unsigned, the pencilled number '1704' on the reverse of the print corresponds to the view entitled 'Esplanade and Government House' in the Bourne & Shepherd catalogue. View looking north across the Maidan from the top of the Ochterlony Monument towards Government House (at left of print). The dome of the Post Office can be seen on the skyline. View looking north along Dock No. 1 from the swing bridge connecting it with Dock No. 2. With sailing and steamships at their berths. The nearest steamer on the left can be identified as the Saint Pancras of Liverpool. See following print. View looking north along Esplanade Road from near the junction with Rampart Row. The large building on the left beyond the open ground is the Bombay Club. On the skyline at right is the tower of St Thomas's Cathedral. View looking north along Esplanade Road from the junction with Rampart Row. The Sassoon Institute stands in the left foreground, with the side of Watson's Hotel beyond and the Bombay Club in the distance. View looking north along Kalbadavie Road towards the junction with Vithal Wadi Street, with the temple decorated with monkey statues at the junction of the two roads. View looking north along Old Court House Street towards St Andrew's Church, with the Great Eastern Hotel in the right foreground. Print unsigned, but probably by Johnston & Hoffmann. View looking north along Old Court House Street towards St Andrew's Church in the distance, with the Great Eastern Hotel in the right foreground on the junction with Waterloo Street. View looking north along Old Court House Street towards St Andrew's Church in the distance. With the Great Eastern Hotel in the right foreground. Print in very poor condition, fading and with several folds and tears. View looking north along Old Court House Street towards St Andrew's Kirk in the distance, with the Great Eastern Hotel on the right. Unnumbered, but probably 1769c in the Bourne & Shepherd catalogue.[Albumen print, 83x96mm]. View looking north along Old Court House Street towards the spire of St Andrew's Church in the distance. The Italianate building with the square tower on the left is the Telegraph Office. View looking north along the Bosphorus waterfront towards Uskudar (Scutari) and the Selimiye Barracks.[Albumen print, 324x258mm]. View looking north along the eastern side of the hill towards the fort. View looking north along the foreshore, with the road at the left. This is a more informative view of the land reclamation than print 379. Duplicate of Photo 1000 (4039). View looking north along the foreshore, with the wall at the right. This was an 18th-century land reclamation on the east side of the island. Duplicate of Photo 1000 (4038). View looking north along the Hugli towards four-masted steel-hulled barques at anchor. High Court buildings visible in the distance. Original negative and modern copy print at Photo 527/2 (19). View looking north along the Swat Valley. View looking north along the waterfront towards the shrine of Mama Hajiyani on the headland. The caption is taken from the back of the print. The title on the album page is incorrectly given as 'View of Colaba, Bombay'. View looking north-east. In the centre of the print is the single storey range of hospital buildings, with the Roman Catholic Church and Convent directly behind (see print 18). Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. View looking north-east across the Birjee Tank towards St Paul's Cathedral, with the Bishop's Palace in the right background on the farther side of Chowringhee Road. View looking north-east along the Swat Valley. View looking north-east towards the Dhurrumtollah Tank at the east end of Esplanade Row, with Chowringhee Road at the right. Section of a panoramic view, continued in print 7. View looking northward along the west bank of the Ganges. View looking northwards, with the University buildings and High Court in centre and the Maidan beyond. Victoria Terminus can just be seen in extreme top right-hand corner of print. Prince of Wales Museum in right foreground. View looking northwards; the Sule Pagoda in the middle distance. View looking northwards. View looking northwards across hill ranges towards the snowy peaks of the Himalayas. Print surface cockled from water damage.[Albumen print, 284x227mm]. View looking northwards across the Chumbi Valley. View looking northwards along Frere Street, with the tower of the Empress Market partially visible in the right background. View looking northwards along the beach road, with an Indian group posed in the foreground. In the left foreground is the old Ice House, a handsome pepperpot building with ionic pilasters and a pineapple finial, built in 1842. Now known as Vivekanand House. View looking northwards along the east wall of the city, towards Mandalay Hill in the background.[Printing-out paper, 98x73mm]. View looking northwards along the ridge towards Elysium Hill and the mountains beyond.Albumen print, 290x190mm]. View looking northwards from an upper storey of the Victoria Memorial. View looking northwards over Istanbul towards the mouth of the Golden Horn and Bosphorus beyond. The Rustem Pasha Mosque near the Galata Bridge, close to the sea front.[Albumen print, 379x305mm]. View looking north-west across the square, with the General Post office at the left and the Bengal Secretariat (formerly Writers' Buildings) running along the north side of the square. View looking north-west along the Golden Horn, with Ayvansaray on the near shore and Halicioglu on the far shore.[Albumen print, 324x261mm]. View looking north-west over the Artillery Lines. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. View looking north-west towards the Eyup district, with a small part of the Golden Horn visible at the extreme right.[Albumen print, 3232x261mm]. View looking north-westwards along the lake towards the town and mountains beyond.[Silver printing-out paper, signed 'G.S.' in the negative, 206x151mm]. View looking out across fields: '...gardens and vineyards enclosed by low mud walls. Leading a party of Turkmen the writer had to clear this section of an advance detachment of Reds, and after a brief exchange of fire at close quarters and the loss of three men, forced the enemy out into open country.'[Gelatin silver print, 132x78mm]. View looking out across the lake towards distant hills and mountains. Photograph by Colin Murray for Bourne and Shepherd. View looking out across valley, with pillar shaped rock formation in formation. With label reading 'Mullick Photo Quetta' attached to back of print.[Gelatin silver print, signed 'Mullick Qta -30' on print, 221x293mm]. View looking out from mouth of cave. View looking out from the fort towards the tank. View looking out over hill country. Poor quality print. View looking out over mountainous country. View looking out over surrounding plains. View looking out over the camp of the agency's escort, with the polo ground beyond and Gyantse Dzong in the background. View looking out over the jungle from Sigiriya.[Gelatin silver print, 55x80mm]. View looking out over the plain, with part of the town in the foreground below: this can be linked to print 479 to form a panoramic view. Not credited to Martin in Bell's index, but in a similar style to print 482, which is Martin's work. View looking out over the plain, with part of the town in the foreground below. Not credited to Martin in Bell's index, but in a similar style to print 482, which is Martin's work. View looking out over the plain below. View looking out over the Ram Niwas Garden. View looking out over the rooftops of Teheran. View looking out over the rooftops of the city. Also captioned in pencil, 'Vue generale du Caire'. The photograph, which appears to be a commercially produced carte-de-visite, was probably purchased rather than taken by Gray.[Carbon print, 95x58mm]. View looking out over the salt lake with rail wagons in the foreground. At the edge of the lake, specially constructed enclosures accumulate the salt through solar evaporation. A mound of salt is seen near the centre of the print. View looking out over the town from the Mardana Palace. View looking out over the town towards the Himalayas in the distance. View looking out to sea, with a fishing boat silhouetted on the horizon. View looking out to sea from a garden. View looking out towards the Nyang Chu (river) from the fort. Marked in pencil are the bridge, the polo ground and the Gurkha post. View looking over a crop field towards distant mountains. View looking over a field to mountains in the distance. View looking over a harbour area towards distant quarters set in rows. View looking over a tank (Manasi Ganga?) towards the palace on the opposite side which combines Mughal and Hindu elements. Small faded print. View looking over a tree-covered plain to distant hills. There are various buildings in the distance and the suggestion of a fort in the centre of the hill range. View looking over a wall towards a path leading up a scrub-covered hillside. A tomb enclosed by iron railings in the left foreground. Possibly at Delhi.Size: 468 (w) x 354 (h) mm. View looking over broken, hilly ground near Grawak. The Ziarat of Pir Umar Jan is the main spring rather than an actual building. View looking over clouds to distant peaks. View looking over Esplanade towards bay. View looking over fields towards distant mountains. View looking over fortified gun positions towards the bay. View looking over fort walls to distant tombs. View looking over jungle-covered hills.[Gelatin silver print, 140x53mm]. View looking over lake to distant building. View looking over offices and bungalows. View looking over open ground and across the valley towards the peak of Sonamarg and its glacier. Inscribed in pencil on reverse: '752. Encamping ground at Sonamarg'.[Albumen print, 280x214mm]. View looking over outlying buildings and palm groves towards the city. View looking over roofs. View looking over rooftops above a street. View looking over rooftops and across the river.[Albumen print, 281x212mm]. View looking over rooftops to the lake. View looking over rooftops towards large unidentified building.[102x74mm]. View looking over rooftops towards rocky hillside. Photograph probably taken during the Burma-China Boundary Commission. View looking over rooftops towards the Chaugan. View looking over rooftops towards the dockyard. View looking over stockade towards Shan houses.[Albumen print, 184x119mm]. View looking over surrounding countryside. View looking over surrounding countryside from the hill fort, with ramparts visible in foreground.[Gelatin silver print, 81x134mm]. View looking over the battlements of the fort towards the tank. View looking over the city's rooftops. View looking over the city towards the hill fort. View looking over the Ganga to Aurangzeb's mosque. View looking over the hill station. The following buildings, etc, are identified: racquet court, thana, military guard house, Company Bagh, clerks' tennis court, road to Chanda. View looking over the hill station. The following buildings, etc, are identified: skating rink, church, tennis court, garden round tank, racquet court. View looking over the hill station. The following buildings, etc, are identified: the club, circular road, road to Chanda and Pega. View looking over the Husainabad Tank towards the imambara and Satkhanda. View looking over the Ismailia Canal towards a tented village adjacent to some buildings. Town founded in 1863 by Ferdinand de Lesseps as a base for the construction of the Suez Canal. View looking over the Khyber Pass, with sentry in foreground.[Platinum print, 284x237mm]. View looking over the Kusum Sarovar tank, with Murray's family and Indian assistants posed on top of pavilions. Small print. View looking over the lake and floating gardens to distant hill. View looking over the lake to the palaces. View looking over the palace and surrounding countryside. View looking over the river towards the distant boat club. View looking over the roofs of the town towards the hill fort and temple. Clouds have been lightly painted in on the negative. Albumen print, 372 x 277 mm. View looking over the rooftops of houses (a number of the buildings boasting central spires), towards the hill and fort.[Albumen print, signed 'W. Baker 569' in the negative, 197x147mm]. View looking over the rooftops of Pera.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. View looking over the rooftops of the city towards a mosque (unidentified), with a portion of the Theodosian Walls in the left middleground.[Albumen print, 372x294mm]. View looking over the rooftops of the town.[102x72mm]. View looking over the rooftops of the town towards the fort or dzong. View looking over the rooftops towards distant hills. View looking over the Royal Lake in what was to become Dalhousie Park. Probably taken from the Signal Pagoda, with buildings of the infantry barracks in the foreground. Letterpress continues: 'To the east of the Shwe Dagon Pagoda, a park is to be formed around it; nature has already half completed it'. View looking over the square to the distant Bengal Secretariat, with the Scotch Kirk visible on the right. View looking over the station, with the following locations identified: D.C.'s house, officers' tennis courts and east road, bazaar, parade & polo ground. View looking over the station, with the following locations identified: officers' mess, ground sloping down to River Indus, polo ground, bazaar. View looking over the tank towards the palace buildings. View looking over the the Dhurrumtollah tank towards the mosque, with the Chowringhee Hotel on the right andf the premises of the tailor, Lawson & Co, on the left. View looking over the town, with mountains beyond.[Signed 'Holmes 143' in the negative, 293x240mm]. View looking over the town. Joins with print 1 to form a panoramic view. View looking over the town. Links up with print 93a to form a panoramic view.[Albumen print, 142x88mm]. View looking over the town from the fort, with the Gundolan Lake in the distance. Joins with print 2 to form a panoramic view. View looking over the town towards the distant snow-capped peaks of the Himalayas.[Green-toned carbon print, 363x150mm]. View looking over the town towards the fort on the hill beyond. The Ganges is visible in the left background.[?Collodion printing-out paper, folds down right-hand side, 214x155mm]. View looking over the town towards the fort on the ridge in the distance. View looking over town with mountains in the distance. One of the series of views taken by Simpson and marketed by Bourne & Shepherd.[Albumen print, signed 'B. Simpson 13' in the negative, 283x215mm]. View looking over trees. View looking over Victoria Park. View looking over wooded hills. View looking past trees towards the houses of the village, with the river at the right. Not a very informative photograph: as Scott notes in the entry in his gazetteer on this Wa village, 'From the ridge on which Mot Hsamo stands it is impossible to see a single house in the village, without climbing a tree'. Taken either on Scott's first visit to Mot Hsamo in 1892, or later in the decade. View looking seawards.[Gelatin silver print, 98x78 mm]. View looking seawards. A faded print.[Silver printing-out paper, 65x99mm]. View looking south, with Back Bay at the left. View looking south, with Frere Hall at extreme left. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. View looking south across the Golden Horn towards the Sultan Selim I Mosque in the distance on the far side.[Albumen print, 377x307mm]. View looking south along Chowringhee Road from the tram depot at the northern end. Print unsigned, but probably by Johnston & Hoffmann. View looking south along Esplanade Road, with the Oriental Bank in the foreground at the junction with Meadow Street. Watson's Hotel in the background. View looking south along Esplanade Road towards Watson's Hotel in the distance. With the Flora Fountain in the foreground and the top of the Rajabai Tower visible behind the buildings beyond. Horse-drawn trams in the distance. View looking south along the beach, masulah boats in foreground. Carte de visite size print. View looking south along the beach from the pier. View looking south along the river frontage. View looking south along the waterfront at First Line Beach. Row of classical buildings in foreground and lighthouse in the distance. View looking south along the waterfront at Madras towards the Lighthouse in the distance. With masula boats lining the foreshore. View looking south-east across the Maidan, with the Ochterlony Monument and Chowringhee Road in the distance. Part of Government House visible at extreme left. View looking south-east along the Golden Horn from Ey�p.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x201mm]. View looking south-east from Church Hill looking down onto St Stephen's Church, with Dodabetta Peak and Elk Hill in the background. With Public Offices, library and other buildings beyond the church. Photograph unsigned, but probably by Nicholas & Co. View looking south-east from Government House, across the Maidan towards Chowringhee Road, with the Dhurrumtollah Tank at the left. One of the gateways into Government House in left foreground. View looking south-east from the Rabajai Tower towards Watson's Hotel in foreground, with the Sailors' Home and harbour beyond. View looking south-east towards Chakpori and the mountains beyond. View looking south-east towards the Tavar Peak. (Ancient Persis Map B3-C3). View looking south from the northern end of Chowringhee Road, at the junction with Esplanade Row. 'Chowringhee Street - Calcutta's main thoroughfare, an amazing parade of fascinating sights and sounds.. Every soldier who has trod its length retains memories of one of the most colorful and interesting streets in the world.' View looking south towards the Galle Face Promenade, with barracks in the foreground and the Galle Face Cemetery on the farther side of the lake. Photograph uncredited, but probably by Scowen & Co. View looking south towards the point. Back Bay at left. View looking south towards the sea. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. View looking southwards along the Bosphorus from the hills above Rumeli Hisari.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View looking southwards down the valley of the Pablung Chu. View looking south-west, with Government House in the foreground. Prints 21-32 join together to form a 360 degree panorama of Karachi from the tower of Trinity Church. View looking south-west across the enclosed harbour trowards the foot of the breakwater, with a coconut plantation in the foreground.[Albumen print, 271x211mm]. View looking south-west along the Ridge.[Albumen print, 176x106mm]. View looking south-west down onto the Swat River. View looking south-west from Boihill towards distant peaks. View looking south-westwards down onto the cantonment and towards its southern perimeter wall. Other copies at Photo 98 (24) and Photo 449/1 (28). View looking straight across river to opposite bank. The print appears to be unnumbered on the verso and is probably not a Bourne photograph. View looking the Irrawaddy towards the cliffs of the Second Defile, with a small local sampan moored in the foreground. Second copy neg at B.6984. View looking the ridge towards the summit. View looking the road towards three churches on the ridge beyond: the Church of England, the Roman Catholic and the Scotch churches. View looking the stream, probably of Kagithane River, which debouches into the Golden Horn.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x199mm]. View looking the street of shops. View looking the terraces in the Nishat Bagh. View looking through a palm grove towards the sea with a temple on the shore and small islands beyond. South Indian coast, possibly Cape Comorin. View looking through a span of the bridge towards the Shah Hamadan Masjid. View looking through open gates to the cantonment. View looking through palms across a bay. View looking through trees. View looking through trees down to the river. View looking through trees to distant mountains. View looking through trees towards Christ Church.[Albumen print, faded, 286x221mm]. View looking through trees towards cliff face. It is unclear whether the caption to print 132, identifying the location, applies to this photograph also. Print in poor condition, overall yellowing. View looking through trees towards distant mountains. View looking toward hills, with camp scene and loaded yak in foreground. View looking towards a bend in the river, with high cliffs on the far bank and a fishing craft with nets on a wooden framwork in the foreground.[Albumen print, 93x146mm]. View looking towards a bridge across the Jhelum at Sopur, with a group of children in the foreground, a shikara ferrying passengers across the river beyond and houses in the background. View looking towards a bridge on the canal, with houses on either side. View looking towards a bungalow on a cliff overlooking the river. View looking towards a bungalow partially concealed by trees.[Albumen print, 202x160mm]. View looking towards a bungalow with a welcome sign over the gate. View looking towards a cargo steamer moored in the river, with sacks of produce (probably rice) being loaded onto the creek steamer berthed at the jetty in the foreground. View looking towards a cluster of low stone huts on the hillside, with mountains behind. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 61. View looking towards a distant bungalow with tents pitched in the surrounding grounds and various outlying buildings beyond. Possibly a camp of the Maharaja of Kashmir as the striped marquee seen behind the Maharaja in Print 26 is also visible in this print. View looking towards a large house overlooking the Dal Lake. View looking towards a line of concrete blocks laid parallel to the waterfront, with a wooden pier on the left.[Gelatin silver print, 203x153mm]. View looking towards an entrnace gateway set into an imposing city wall, probably at Kunming. Chinese group (?soldiers) in foreground. View looking towards an unexcavated mound, with a stand of palm trees in the foreground. View looking towards an unidentified box girder railway bridge. View looking towards an unidentified building, with a memorial obelisk standing to the right. A badly faded print.[Albumen print, vignetted oval, approx. 120x85mm]. View looking towards an unidentified six-span stone bridge. View looking towards a railway viaduct under construction. A faded print.[Printing-out paper, 114x88mm]. View looking towards a river with a hut on the embankment and field labourers and estate managers standing outside. Probably taken at a Victoria Tea Co estate, Cachar. View looking towards army post and commissariat depot at Seh Baba, with the Black Hill beyond. Situated between Jagdalak and the Lataband Pass. Duplicate at Photo 430/3 (77). View looking towards a rocky hill. View looking towards a section of the line. View looking towards a settlement of wooden houses on the border. View looking towards a small unidentified building with tramlines in the foreground. View looking towards a tank, hills in the distance. View looking towards a thatched houses, with villagers gathering water from a pump in the foreground. View looking towards a village compound? View looking towards a village of thatched houses. View looking towards a village of thatched houses. View looking towards a vista of hills, with the camp (partly obscured by trees) in the middleground.[Gelatin silver print, 120x60mm]. View looking towards a wooden road bridge over the canal. View looking towards barracks. From south-east. View looking towards brick pier under construction, with group of labourers in the foreground.[Albumen print, captioned in the negative, 253x202mm]. View looking towards bridge, with rocky hillside on far bank. A rather contrasty print. Caption note continues: 'The Sugzum is formed of cables of twisted birchen twigs fastened together, two for the flooring, and one for either side, and supported at the ends by piles of stones from the bed of the river. Crossing a Sugzum is trying to the nerves, as the oscillation is very great, annd it is generally slung over a raging torrent. Two passengers are here seen crossing. Large cattle cannot cross this description of bridge, and the frequent occurrence of the Jhoola and Sugzum necessitates the carriage of the produce of these regions on sheep and goats, which are here therefore trained to carry burdens.' View looking towards bridge, with small stone chorten in foreground. View looking towards bridge, with span in position, but with supporting structure of railway sleepers still in place.[?Developing-out paper, signed and dated 'F.C.M. 8.1.95' in the negative, 204x153mm]. View looking towards bridge.[Gelatin silver print, 98x78 mm]. View looking towards bridge. View looking towards bridge which two ponies are crossing. View looking towards Broad Peak in the Karakorams, with a small encampment of tents on the glacier in the foreground. Reproduced in Filippo de Filippi, 'Karakoram and Western Himalaya 1909' (London, 1912), facing p. 254, there captioned 'Broad Peak, from Camp VI.'[?Matt collodion printing-out paper, 245x193mm]. View looking towards buildings, identified as British Post Office (on left) and Persian Customs and Post Office.[94x71mm]. View looking towards buildings, with a railway line in the foreground. A faded print.[Printing-out paper, 156x109mm]. View looking towards buildings, with mules grazing in foreground.[86x85mm]. View looking towards buildings, with yaks in foreground. View looking towards buildings in the fort, with ordnance stored in the yard in the foreground. Later print from an early (?)paper negative.[Silver printing-out paper, 200 x 150 mm]. View looking towards bungalow, with figures standing in foreground, identidied as [Cusack] Walton R.E., [Edmund Perceval] Mainwaring-White, [Clifford Boardman] Winter [Political Agent, Southern Baluchistan].[102x77mm]. View looking towards bungalow, with wall and steps of ghat in left foreground. Photograph uncredited, but probably by Rev. Higgs (see introduction). Faded print.[Albumen print, 196x152mm]. View looking towards bungalows. View looking towards camp, with baggage yaks grazing in foreground. View looking towards camping place among knoll of trees, with a memorial stone in the centre. The incident took place in 1891 (for a brief account, see the Imperial Gazetteer of India, vol. 17, pp. 187-88).[Gelatin silver print, 98x67mm]. View looking towards canal at Bezwada (modern Vijayawada). View looking towards canal headworks at left, with the river beyond. View continued in print 9.[Printing-out paper, 367x293mm]. View looking towards canefield, with irrigation canal in foreground.[Printing-out paper, 291x213mm]. View looking towards cantonment buildings, with a group of European officers seated on a low wall in the foreground.[Albumen print, 217x154mm]. View looking towards causeway over the nearly dry river.[Gelatin silver print, 98x78 mm]. View looking towards cave. View looking towards cave entrance in cliff-face. The cave is situated near the village of Pagat. The European figure standing at left is probably Oertel. The photograph is also used as plate 38 of F.O. Oertel, 'Notes on a Tour in Burma in March and April 1892' (Rangoon, 1893).[Albumen print]. View looking towards caves used for human habitation. View looking towards central pavilion in the garden. View looking towards Chand Minar and citadel. View looking towards cliff face and caves: 'A day's halt near that picturesquely situated village [Taduvan] allowed me to inspect a series of curious cave-like recesses transformed into places of safety and known as Khaneh-i-gabri. They are found under the high wall-like cliffs of limestone lining the narrowgorge of the Tang-i-Taduvan...a line of natural caves which have been converted into a succession of originally vaulted chambers by walls of rough cemented masonry...' (Ancient Persis, p. 134, Map B3). View looking towards cliff face and caves. View looking towards cliffs, with camp in foreground. View looking towards cliffs on the riverbank, probably at Dera Gopipur. View looking towards cloud-covered hills, with the town below.[Sepia toned print, 132x74mm]. View looking towards cloud-covered mountains.[Silver printing-out paper, 120x98mm]. View looking towards cloud-wreathed peak.[Gelatin silver print, 218x292mm]. View looking towards conifer forest and mountains. View looking towards construction work in progress. View looking towards dam and sluices.Second copy neg at B.10028. View looking towards distant group of pagodas, with Inle Lake in the background.[Albumen print, 243x185mm]. View looking towards distant hills. View looking towards distant hills. View looking towards distant mountains.[Gelatin silver print, 131x80mm]. View looking towards distant peak. View looking towards dock area. View looking towards dredging machinery in operation along the sea wall. View looking towards dzong, with terrace cultivation in foreground. View looking towards dzong on summit. View looking towards entrance gateway, with the Gurkha war memorial visible in the background. A Gurkha recruitment depot was based at Gorakhpur.[Gelatin silver print, 289x221mm]. View looking towards eroded cliffs, with campsite in foreground. View looking towards eroded ridge. View looking towards European houses perched on top of a small hill. Pencilled note on the reverse reads: 'Amnigaon (Assam) where I am going next week, it is on the River Brahmapootra. Lawton['s] house [illegible] he is Dist Engineer.' View looking towards exposed rock strata on mountainside. View looking towards factory and other estate buildings, with tea planted out in the foreground and the Himalayas in the distance. See also print 15, a similar view taken some time earlier, with a key identifying various of the buildings.[Albumen print, 217x160mm.] View looking towards falls, with porters resting in foreground.[Albumen print, 231x276mm]. View looking towards farm buildings, with cattle grazing in foreground. View looking towards figures and buildings on a riverbank, with a stream of water pouring over the side of the bank and into the river. It is unclear which are the mills referred to. View looking towards flat-topped rock, with buildings on top. '14th March - Monday, but we made it our Sunday halt. The huge rock...is known as 'Lohangi'. It is over 100 feet in height and stands on a hillock of equal elevation. A flight of steps on one of its four faces leads to a flat top, on which stands a temple (built during the reign of Alanghir) besides the ruins of several other buildings and a tank now empty.' (p. 24). Faded and yellowed print.[153x99mm]. View looking towards footbridge across the Sind River. Faded print. View looking towards forested hills. View looking towards fort, with the car of W.O.F. Hodder (Assistant to A.F. Perrot, District Officer in command of the Frontier Constabulary) in the foreground. View looking towards fort.[97x77mm]. View looking towards fort. View looking towards fort and monastery on ridge: 'The fort, monastery, and village of Dhunkur are most picturesquely situated on a bluff of conglomerate limestone, which is connected with the uplands by a narrow ridge, considerably lower than the fort. The rock, where not in some way protected from the elements, gets washed into sharp conical pinnacles, which have a peculiar appearance. The fort is nothing but an ordinary house of rather larger dimensions than usual, crowning the summit of the height, with the remains of a mud wall on the west side, erected it is said by the Sikhs. There is no water procurable on the hill, but lower down on the east side is a curious kind of covered way, like a big drain, extending to the rivulet below.' (Egerton p. 24). View looking towards fortified post, with group of Kirghiz felt tents in the right foreground. View looking towards glacier. View looking towards glaciers and mountains, with Doris Skrine riding on a yak in the foreground. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 100).[Gelatin silver print, 222x295mm]. View looking towards gorge, the entrance almost completely obscured by a bor tree. Archaeological Reconnaissances, fig. 72: 'Entrance of Tang-i-Lir, with grottoes, Shilau Valley.' View looking towards gothic screen around the memorial angel. View looking towards group. Indistinct, faded image. View looking towards group of Bakhtiaris. View looking towards group of tents, with pack camels in foreground.[Albumen print, 136x97mm]. View looking towards groups of thatched huts, laid out in rows on open ground.[Platinum print, vignetted oval image, signed 'Townshend Phot.' in the negative, 292x204mm]. View looking towards grove of palms, with hills beyond. Stein's negative notebook lists the location as Qala-i-Pirist. View looking towards head of pass.[Sepia-toned print, 83x132mm]. View looking towards headworks, with the river on the right.[Printing-out paper, 364x285mm]. View looking towards hill.[Gelatin silver print, 98x78 mm]. View looking towards hill. View looking towards hill. View looking towards hill and fort from north-west. Archaeological Reconnaissances, fig. 12: 'Hill fortress of Kusuk, seen from north-west.' View looking towards hills, with horsemen on path in foreground.[Gelatin silver print, 162x108mm]. View looking towards hills, with pine forest in foreground.[Silver printing-out paper, 120x95mm]. View looking towards Holy Trinity Church (distant). View looking towards houses, with yaks in foreground. View looking towards houses. View looking towards houses on hillside, with villagers grouped in foreground. Taken from the same spot as print 282. For another copy of this print, see Photo 92/2 (8).[Albumen print, 237x189mm]. View looking towards houses on the farther bank. The wooden footbridge rests of a fixed line of boats across the river. View looking towards huts, with group gathered in front. View looking towards Inle Lake, with temples on the land in the middleground.[Albumen print, 175x118mm]. View looking towards inscription picked out in stone on hillside. View looking towards islands in mid-stream. View looking towards Jami Masjid, with came wagons in middleground and group of Indians seated in foreground. Stereoscopic pair. View looking towards Kitchener Barracks. Poor quality, faded. View looking towards lake. A faded print.[Albumen print, 89x62mm]. View looking towards lake. View looking towards Lake Palace, framed by archway in foreground.[Gelatin silver print, 55x79mm]. View looking towards large campsite.[Albumen print, 241x194mm]. View looking towards massive boulder formations. Print in poor condition, with fading and some staining. Albumen print, 370 x 240 mm. View looking towards military accommodation.[Albumen print, 177x118mm]. View looking towards military accommodation. See note at print 30.Albumen print, 176x118mm]. View looking towards military lines and barracks, with a public garden in the foreground. The photograph links up with print 32 to form a panoramic view.[Albumen print, signed 'Townshend Phot.' in the negative, 276x212mm]. View looking towards modern village. View looking towards monastery buildings, with chortens in foreground. View looking towards monastery buildings. View looking towards monastery buildings on ridge at Lamayuru or Lamayuru Gompa, 45 miles west-north-west of Leh. Caption note continues: 'It is remarkable that these monasteries are invariably found in the highest accessible position. They are occupied by Lamas, some of whom are perpetually wandering among the adjacent villages, levying the charitable contribution of the people for the sustenance of their order. There are two sects of these Lamas, distinguished from each other by their dress, the one only wearing red clothing, and the other only yellow. Both have their heads uncovered, and their hair closely cut. Each carries in his hand a prayer-wheel, which is formed of a copper cylinder revolving on a centre-pin, carried round by a weight when set in motion by the hand. This contains written prayers: so long as the wheel is in motion, the prayers are believed to be rising. These prayer-wheels are also found in the villages, on a larger scale, turned by water, after the fashion of water-mills.' View looking towards moored steamers. View looking towards mound, with Captain Daniel Richard Smith (Political Department), Lieutenant Lovell William Wooldridge (10th Baloch Regiment, Adjutant, Makran Levy Corps) and two unidentified figures standing in foreground. Gedrosia, fig. 8 View looking towards mound, with the two figures named standing on site. View looking towards mound. (Ancient Persis Map, B3). View looking towards mound. View looking towards mound. View looking towards mountain.[80x120mm]. View looking towards mountain. View looking towards mountain peak, with hut in foreground. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 237. View looking towards mountain peak. View looking towards mountain range. View looking towards mountains, with camp in foreground. View looking towards mountains, with figures striking camp in foreground. View looking towards mountains, with glacier in foreground. View looking towards mountains, with houseboats moored in the foreground. View looking towards mountains.[Gelatin silver print, 101x73mm.] View looking towards mountains.[Silver printing-out paper, 136x81mm]. View looking towards mountains. Duplicate negative, no print. View looking towards mountains. View looking towards mountains. View looking towards mountains. View looking towards mountains. View looking towards mountains. View looking towards mountains. View looking towards mountains. View looking towards mountains (faded in highlights) with trees in foreground. The title in brackets above is that given in the Bourne and Shepherd catalogue. The photograph won a medal at the Bengal Photographic Society Exhibition of 1867. View looking towards mountainside, with poplar trees in foreground.[Silver printing-out paper, 200x150mm]. View looking towards mountainside.[Silver printing-out paper, 242x186mm]. View looking towards mountains View looking towards mouth of cave in cliff face. It is unclear whether the caption to print 132, identifying the location, applies to this photograph also. Print torn along top edge. View looking towards open-sided corrugated-iron building, with traders in foreground.[74x54mm]. View looking towards open-sided market building, with chinthes guarding entrance to monastery or pagoda in the background.[Albumen print, 240x187mm]. View looking towards pagodas, with bazaar in foreground. View looking towards pagodas on the hillside. Second copy neg at B.25649. View looking towards partially submerged thatch and palm weave Burmese house.[Gelatin silver print, 135x80mm]. View looking towards part of Consulate buildings.[102x72mm]. View looking towards part of inscription slab sheltered by stone porch. Inscriptions not legible. Negative only, no print. View looking towards part of the fort, showing wall and angle bastion. View looking towards peak and glacier, with camping ground in foreground. The reference numbers on prints 11-13 correspond to prints in the Johnston and Hoffmann catalogue which match these subjects and from which the caption titles have been taken. The photographs were probably taken on an expedition to the Zemu Glacier area undertaken by Theodore Julius Hoffmann in the company of John Claude White in July 1891. The trip is described in 'Exploration in Sikkim, to the North-East of Kanchinjinga' (Royal Geographical Society Proceedings, no. 9, September 1892, pp. 613-18).[Printing-out paper, numbered '20339' in pencil on the reverse, 237x282mm]. View looking towards peaks. Duplicate negative, no print. View looking towards perimeter wall of school. View looking towards railway bridge. Poor quality print. View looking towards railway survey camp in the Khwaja Amran range View looking towards Rajagiri Hill. View looking towards range of hills across valley. View looking towards ridge (I.A. Map 2, C3). View looking towards ridge with Tochi River in foreground. Archaeological Tour of Waziristan, fig. 1, where the caption reads: 'Khassadar Post, below Khajuri, Tochi Valley.' View looking towards river, with camping place in foreground.[Printing-out paper, 151x113mm]. View looking towards river. View looking towards river gorge, with a house on the riverbank.[Albumen print, 277x214mm]. View looking towards river junction, with Hindukush beyond. View looking towards riverside houses, framed by arch of bridge. View looking towards riverside houses. View looking towards rock face and caves, with temple and chortens in right foreground. View looking towards rock face with (?)shrine at base and ruined pagoda at summit. Scott visited Sa-un on 16 April 1889: 'Elephants not in till 4.45. Then took a photo of the pagoda on the crag.' (Diary for Feb-Dec 1889, p. 21, Mss Eur F278/4).[Albumen print, 181x117mm]. View looking towards ruined bridge on the Tang-ab, sculpture not visible. (Ancient Persis Map, A3). View looking towards ruined fort on summit of mound. View looking towards ruined funerary cairn, with two gendarmes posed to indicate scale. Ancient Persis, fig. 13: 'Funerary cairn (Damb) II.ii, Bishe-zard, seen from south-east.' (Ancient Persis Map C3). View looking towards ruins of the fortress, at left of print and partly out of the picture. (Ancient Persis Map, A3). View looking towards ruins on the summit of rocky hills near Kalehdan. View looking towards settlement; somewhat distant. View looking towards settlement of reed houses on riverbank. View looking towards shale cliffs. View looking towards shell-scarred buildings, with officers and men of the Dragoon Guards posed in the foreground. Caption as it appears in Hering's catalogue of Beato's views in square brackets.[Albumen print, 310x221mm]. View looking towards shipping in the harbour.[Gelatin silver print, 80x55mm]. View looking towards shipping in the Hugli from the Strand Road.[Albumen print, 227x178mm]. View looking towards shore. View looking towards shrine in centre of tank.[Gelatin silver print, 98x78 mm]. View looking towards sluices and weir, with the river beyond. Panoramic view continued in print 14.[Printing-out paper, 372x274mm]. View looking towards small fortified police post. (Ancient Persis Map B3). View looking towards snow-capped peak. View looking towards snow-covered mountains. View looking towards snow-covered peak. View looking towards snow-covered peaks, with a group of ponies in the foreground.[Gelatin silver print, 141x92mm]. View looking towards snow-covered peaks from the top of the pass. View looking towards snowy peaks. Caption note continues: 'Note snout of enormous (unexplored glacier which comes down from somewhere near Khan Tengri (23,600 ft.) Note also the forests of the alpine belt. Distance 20-25 m.'[Gelatin silver print, 309x248mm]. View looking towards station entrance.[Gelatin silver print, 204x150mm]. View looking towards steep mountain cliff face. View looking towards stone bridge and houses.[Silver printing-out paper, 102x76mm]. View looking towards stream and gully between hills. View looking towards summer house and lake. View looking towards summit of hill.[74x88mm]. View looking towards summit of hill. View looking towards summit of hill at the unexcavated Buddhist site. View looking towards summit of rock, about twenty miles from Pachmarhi. View looking towards summit of rock. View looking towards tank, with figures posed in foreground holding water pots, and fortifications on hill in background. View looking towards temples and the palace on the island at Mandhata View looking towards temples on the edge of the tank. Inscribed in pencil on reverse: 'Sacred tank and temples near [?]Roan. Badami District. 1800.'[Albumen print, 216 x 166 mm]. View looking towards temples on the hillside. View looking towards tent, with baggage camels seated in foreground.[Albumen print, 135x97mm]. View looking towards tents, with pagoda to the left.[Cyanotype, 203x155mm]. View looking towards tents, with rocky hillside beyond: 'My tent is the one on the left of the two larger white ones in the centre, with the verandah raised. In the background id the village of Phondo, built under the cliff. See Diary XII, p. 46.' View looking towards tents pitched on the Maidan.[Albumen print, numbered '3692' in the negative, 279x210mm]. View looking towards thatched houses. View looking towards the Amira Kadal bridge. View looking towards the Assembly Rooms from the road on the east shore of the lake, with part of the Mayo Hotel in the foreground. View looking towards the Bala Hisar citadel on the hilltop at Golconda, with the crenellated city wall in the foreground. Another copy at Photo 1224/1 (52). View looking towards the bandstand. View looking towards the bandstand. View looking towards the boulder-strewn hill, with dhobis washing clothes in the lake in the foreground. Duplicate at Photo 2/3 (125) View looking towards the bridge, with a locomotive and rolling stock of the Pawayan Steam Tramway Company crossing. With local craft loading timber in the foreground.[Albumen print, signed 'Fry & Rahn No. 268' in the negative, 283x135mm]. View looking towards the bridge, with a sheer rock face beyond. View looking towards the bridge, with a small boat in the foreground.[Silver printing-out paper, 103x76mm]. View looking towards the bridge across the Jhelum at Pampur, with a local boat in the foreground.[Silver printing-out paper, 103x75mm]. View looking towards the bridge over the Chitral River. Pencilled note on reverse of mount reads 'Suspension bridges at Gehirat - between Chitral and Drosh - This is a strong defensive position against and attack from the south. The cliffs are much higher than they look in the photo, for compsarison look at the tree at bottom of photo.' Duplicate at print 37. Stereoscopic view. View looking towards the bridge over the Jhelum at Sopur, with a local boat in the foreground.[Silver printing-out paper, 101x76mm]. View looking towards the bungalow, which stands on land overlooking the Jhelum.[Albumen print, signed 'R.H. 111' in the negative, 223x179mm]. View looking towards the Burmese pagoda in the gardens. Carte-de-visite sized print. View looking towards the Byculla Hotel, at the junction of Bellasis Road and Ripon Road. In the foreground stands the ornate cast-iron fountain, with a central pillar on top of which stands a statue of the Parsi philanthropist Cursetjee Manockjee. View looking towards the city, with camels in the foreground.[Gelatin silver print, 165x252mm]. View looking towards the City Palace. View looking towards the city walls, with the tents of the transport lines in front.[Albumen print, 283x215mm]. View looking towards the cliff-face of the Pillar Rocks. View looking towards the confluence of the two rivers. View looking towards the culvert, with labourers and donkeys posed on either side.[Printing-out paper, 347x270mm]. View looking towards the Dal Gate at the entrance to the lake. View looking towards the defile, with Scouts escort in foreground. View looking towards the distant Himalayan peaks. View looking towards the distant Municipal Buildings and Victoria Terminus, from the office of Forbes, Forbes, Campbell & Co Ltd. View looking towards the distant peak. View looking towards the dzong, with a yak caravan in the foreground. View looking towards the dzong, with sheep grazing on the hillside in the foreground.[Photogravure, 149x114mm]. View looking towards the dzong, with the river on the right. View looking towards the dzong.[Photogravure, 148x114mm]. View looking towards the dzong.[Photogravure, 149x113mm]. View looking towards the dzong. View looking towards the dzong. View looking towards the entrance, showing the two massive stone lions flanking the stairway, and the pagodas of the temple beyond. View looking towards the fort, which stands on a small hill. View looking towards the fort, with houses in foreground. 'Neame and Chapman went to the town and Jong to take photos, and found many interesting subjects...The outer walls of the Jong have in many places crumbled away and the whole of it is pretty bad repair, except the chief temple, which is reputed to be 300 or 400 years old...' (Lhasa Mission Diary 15 August 1936).[Gelatin silver print, 141x92mm]. View looking towards the fort, with mountains beyond. View looking towards the Fort, with Ranjit Singh's Tomb at the left. View looking towards the fort, with temporary camp in foreground. View looking towards the fort, with the Chand Minar on the right.[Silver printing-out paper, 277x200mm]. View looking towards the fort, with two domed pavilions in the foreground. Man drawing water from river in the foreground. View looking towards the fort.[82x77mm]. View looking towards the fort. Archaeological Reconnaissances, fig. 1: 'Approach to Batiala Gate of Rohtas Fortress.' View looking towards the fort. Archaeological Reconnaissances, fig. 30: 'Fort of Geh, seen from Chihil-Dukhtaran.' View looking towards the fort. Duplicate at Photo 430/2 (88). View looking towards the fort. Duplicate at Photo 430/3 (74). View looking towards the fort. View looking towards the fort and houses of the village.[Printing-out paper, 152x113mm]. View looking towards the fort dominating the town in front. View looking towards the fort from the town below. View looking towards the fortified city. View looking towards the fortified village enclosure, with a group of villagers standing beside the stream in the foreground. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 317, there captioned, 'Shui, or Pshur.' 'On arrival the guests were taken into the village, a square three-storied enclosure; exterior measurement of each face 160 feet, interior about 90 feet. The material was stone set in clay, and deodar timber. The doors, verandah, railings and other woodwork were ornamented by a good deal of carving, and in the centre of the square was a raised platform for dancing, with benches round the sides...'[Albumen print, 255x207mm]. View looking towards the fort or dzong, with hills beyond. Faded print. View looking towards the fort with coffee processing in the foreground. View looking towards the furnace buildings, with locomotives on the light railway line in the foreground.[Printing-out paper, 304x243mm]. View looking towards the Ganges, with damage to Maidan marked on print, with additional note reading, 'Baghalpur Maidan looking north. Length from A to B [marked on Maidan] 500 yds Approx. Trees at B very high. Ground below A unsuitable for landing on. White spots on photograph are abrupt hummocks.' View looking towards the Ganges, with the polo ground in the foreground. With Government House marked on print, and note reading, 'Patna Polo Ground looking N.E. A to B 450 yds, C to D 370 yds.' View looking towards the ghats, with washing laid out to dry on the riverbank in the foreground.Size: 512 (w) x 391 (h) mm. View looking towards the glacier, with a group of stone cairns in the foreground.[Photogravure, 148x113mm]. View looking towards the gorge, with soldiers grouped at the entrance. [Gelatin silver print, 127x80mm]. View looking towards the government offices and Town Hall. View looking towards the group of rock-cut tombs. View looking towards the harbour (from the Grand Oriental Hotel?), where the P. & O. steamer Strathnaver lies at anchor. Note on reverse of print reads: 'P. & O. RMS Strathnaver at Colombo, 1940. We embarked in her on following day for Australia.' View looking towards the Hardinge Bridge, with labourers on the wooden pontoon in the foreground and a river steamer beyond.[Gelatin silver print, 242x150mm]. View looking towards the Hawa Mahal, with Sireh Deori Bazaar running off to the right. Photograph links with print 27 to form a panorama. Print faded. View looking towards the head works, with water flowing into the canal.[Printing-out paper, 298x220mm]. View looking towards the hill, with Indian soldiers posed in foreground. 44th Hill, a couple of miles north-west of Gandamak, was the scene of an action in 1880. View looking towards the hill.[Gelatin silver print, 131x81mm]. View looking towards the hills, with the camels of Stein's escort in the middleground, and Sultan Husain Aghai Ansari standing in the foreground. View looking towards the hills.[Albumen print, numbered '134' in the negative, 174x105mm]. View looking towards the hills. Joins with print 2 to form a panorama. View looking towards the hills across a landscape dotted with pagodas.[Albumen print, 97x68mm]. View looking towards the hilltop village, with terrace cultivation extending down the slope.[Gelatin silver print, 135x82mm]. View looking towards the Himalayas. View looking towards the Himalayas. View looking towards the Himalayas. View looking towards the Himalayas. View looking towards the Himalayas. View looking towards the Himalayas. View looking towards the Himalayas from Darjeeling. View looking towards the Himalayas from Darjiling. View looking towards the Himalayas in the distance, with hills under terrace cultivation in the foreground.[Silver printing-out paper, 294x210mm]. View looking towards the hotel, with Christ Church beyond. View looking towards the house, with mountains beyond. View looking towards the houses of the town, with part of the dzong visible at left. View looking towards the houses of the town and along the valley. View looking towards the houses of the village, with mountains beyond. View looking towards the houses of the village. View looking towards the houses of the village during the floods, with a man in a canoe in the foreground.[Printing-out paper, 99x70mm]. View looking towards the houses of the village on the ridge of a hill.[Albumen print, 118x183mm]. View looking towards the Hughli. Poor quality print. View looking towards the Hugli, with the houses on the Serampore on the far bank. Part of Lady Canning's grave is in the left foreground.[Albumen print, 281x220mm]. View looking towards the island and the palace. View looking towards the Kistna (Krishna) Dam at Vijayawada. View looking towards the lakeside pavilion, with a palm-lined path in the foreground. Print unsigned, but probably by Skeen & Co. View looking towards the Lal Mundi Palace. Poor quality print. View looking towards the Lal Mundi Palace. View looking towards the large conical rock rising out of the river. View looking towards the lines, with Mowla Ali Hill in the distance.[Albumen print, numbered '3710' in the negative, 278x208mm]. View looking towards the lock gate; a closer view than print 19.[Silver printing-out paper, 102x75mm]. View looking towards the lock gate and bridge, with shepherds and sheep in the foreground.[Silver printing-out paper, 102x76mm]. View looking towards the Mahanadi Canal. View looking towards the mountain, with glacier below the summit. Inscribed in pencil on reverse: '789. Hoari Haramukh Peak at Gangabal.'[Albumen print, 276x210mm]. View looking towards the mountain. View looking towards the mountains, with a bridge in the foreground.[Silver printing-out paper, 103x75mm]. View looking towards the mountains, with fields and date palms in the foreground.[Gelatin silver print, 197x126mm]. View looking towards the mountains. Duplicate negative, no print. View looking towards the mountains. View looking towards the mountains. View looking towards the mountains. View looking towards the mountains. View looking towards the mountains. View looking towards the mountains. View looking towards the mountains. View looking towards the mountains. View looking towards the mountains at the head of the snow-covered pass.[Albumen print, signed 'Bourne 275a' in the negative, 285x240mm]. View looking towards the mouth of the Golden Horn, with the Galata Tower visible on the right. Distant view of the Suleymaniye Mosque, on the left.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x198mm]. View looking towards the mouth of the Golden Horn from the south-east, with the Galata Tower visible on the skyline.[Albumen print, signed 'Abdullah Fr�res' in the negative, 257x200mm]. View looking towards the Ochterlony Monument, with Government House and the High Court visible in the ddistance. The dome of the General Post Office can be seen on the skyline, middle right. Tear in bottom half of print. View looking towards the Old Palace (Raj Mahal), with the Jaigarh Fort in the background and the Maota Lake in the foreground. View looking towards the pagoda and open sided zayat or resthouse. Duplicate at Photo 92/8 (10).[Albumen print, 174x111mm]. View looking towards the palace.[Sepia toned print, 129x80mm]. View looking towards the partly removed old gallery. View looking towards the pass.[Gelatin silver print, 141x92mm]. View looking towards the peak, partly concealed by clouds. Reproduced in No Passport to Tibet, p. 137. Another copy of this print at Mss Eur F157/484 (83). View looking towards the peak, with a herd of yaks in the foreground. View looking towards the Peak, with the Hong Kong Bank to right of centre in the middleground. On the right is part of Prince's Building, completed in 1904 and here seen nearing completion, but still swathed in scaffolding. The foundations of the new Law Courts (commenced in 1903 but not completed until 1912) are in the left foreground. View looking towards the peak. View looking towards the peak. View looking towards the peak of Kangchenjunga, with the glacier below. View looking towards the peak of Tirich Mir, with a fort and a suspension bridge over a river (the Chitral River?) in the foreground. The fort and bridge are also seen, more distantly, in print 72. View looking towards the peaks known as the Akka ('elder sister') and Tangachi ('younger sister'). European figure reclining in foreground. View looking towards the peaks of the Himalayas.[Brown-toned carbon print, 150x364mm]. View looking towards the peaks of the Himalayas.[Brown-toned carbon print, 365x151mm]. View looking towards the pier. View looking towards the Pilot Office.[Albumen print, 282x223mm]. View looking towards the plains. View looking towards the quarters of the military post.[Albumen print, 166x120mm]. View looking towards the racecourse, with hills beyond. View looking towards the railway and road bridges acros the Wainganga. View looking towards the Rajput fort standing on the cliffs overlooking the Banganga River. View looking towards the regulator, with an Indian figure standing above a banner reading 'Welcome to the Executive Engineer Begari Canal.' View looking towards the ridge, the highest point of the Satpura Range.[Gelatin silver print, 131x87mm]. View looking towards the ridge on which the Wa village of Man Hpang stands, with thatched houses in the foreground. Photographed during the Second Wild Wa expedition. View looking towards the river, where the superstructure of H.M.S. Greyfly, moored at the nearer bank, can be seen. View looking towards the river, with construction work in foreground. Continuation from print 8.[Printing-out paper, 364x284mm]. View looking towards the river, with local craft and houseboats moored along the bank.[Hand-coloured albumen print, 269x209mm]. View looking towards the river. View looking towards the river. View looking towards the rock, with cows and cowherds in the foreground.[Albumen print, numbered '3711' in the negative, 274x213mm]. View looking towards the rock outcrop known as The Duke's Nose. View looking towards the rock outcrop on which the fort stands. Duplicate at Photo 1008/10 (120G).[202x152mm]. View looking towards the rocks and hills beyond. View looking towards the rock tunnel at Seleucia. View looking towards the sea, with washing drying among the palm trees in the foreground.[Postcard, gelatin silver print, 136 X 86 mm]. View looking towards the Shevaroy Hills, with the lake in the foreground. View looking towards the small fort, with the bridge in the foreground. View looking towards the small island, joined to the main island of South Andaman by a causeway. Print 55 was taken from Viper Island. View looking towards the small ridge of rock to which Stein was obliged to retreat with his baggage when his lorry became stuck in the Sorab flood bed. See prints 87 and 89. View looking towards the small wooden bridge over the stream, probably in the Sagaing Division.[Printing-out paper, 155x109mm]. View looking towards the snow-covered peak. View looking towards the steep hill and fort: 'The top must at all times have provided a very strong defensive position, and the fortified quarters built there by the great-uncle of the present Mirwari Sirdar of Gushanak and now in ruin, prove that it served as a place of safety down to recent times. The walls comprise masonry both of undressed stones set in mud and of sun-dried bricks' (Gedrosia, p. 117). View looking towards the stone jetty, with local craft at their moorings in the foreground. A poster fixed to the side of the jetty announcing the publication of the Times of India Directory appears to be dated 1867, but it is not quite sharp enough to be deciphered with certainty. Duplicate print at Photo 460 (3). Second copy neg at B.25494. View looking towards the summit. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 439x292mm]. View looking towards the summit. View looking towards the summit. View looking towards the summit of Makalu. Mount stamped: 'Copyright Mt. Everest Committee.'[Green-toned carbon print, 450x329mm]. View looking towards the summit of Moula Ali Hill, north of Hyderabad City. Poor quality print. Duplicate (in good condition) at Photo 2/3 (118). View looking towards the Swat River, with canal works in right foreground. This shows the works also seen in print 131, but from the same side of the river. View looking towards the tank, with temple tower visible beyond. View looking towards the tank, with two figures posed in the middleground. The tip of the Rankot Dagaba can just be seen on the skyline in the far distance.[Albumen print, signed 'Lawton' in the negative, 281x210mm]. View looking towards the tank. Left-hand section of panoramic view continued in print 2.[Albumen print, numbered '3664' in the negative, 270x208mm]. View looking towards the Telegraph Office, with Writers' Buildings visible in the distance beyond. The dome of the General Post Office can be seen in the left background. Original negative and modern copy print at Photo 527/2 (5). View looking towards the temple on the shore, with fishermen's nets laid out in the foreground. Companion to print 1222. View looking towards the Teppakulam Tank and temple. Oval vignette. View looking towards the tombs, bazaar scene in foreground. Photograph possibly by Sir George Scott. For a better photograph, taken from a similar viewpoint, see Photo 92/9 (250). View looking towards the town, with a ridge of hills beyond, and the Ana Sagar lake and bund in the right foreground. Photograph by Colin Murray for Bourne and Shepherd. View looking towards the town, with river and bridge in the ravine below in the foreground.[Lantern slide, 75X75 mm]. View looking towards the triple-arched bridge across the Kabul River, with an Indian soldier posed on the riverbank in the foreground. Duplicate at Photo 430/3 (41). View looking towards the two thatched buildings of the Siamese border post. Scott's gazetteer records the Me Hsai as 'A small tributary of the Mekhong River, on its right bank...only important as marking for a portion of its length the frontier between Siam and Keng Tung. On the south side there is a small Lao village and a Siamese stockade; on the left bank there is a Keng Tung village known as Ta Khi Lek...From the Me Hsai fort roads lead to Keng Tung, Chieng Sen, and Chieng Hai. There is a good and extensive camping-ground.'[Albumen print, 238x191mm]. View looking towards the village from the river. View looking towards the village of Loi Lon, perched on the summit of a rounded hill. Horses grazing in foreground. See G.E. Mitton, Scott of the Shan Hills (London, 1936), pp.235-9, for an account of Scott's visit there during the Second Wild Wa Expedition. View looking towards the village through clumps of bamboo. View looking towards the walled town, with sentry posts on the hillside in the foreground. No. 79 in Burke catalogue of Afghan War views. View looking towards the wall ridge. The plate has been exposed twice and a second image of the ridge appears above the main one. View looking towards the water-gathering barrage below the stronghold of Qala-i-Gabri, south of Fasa (Ancient Persis Map, B3). View looking towards the water pump also seen in print 42. View looking towards the west gate of the cantonment. Snow scene. View looking towards the wooden bridge across the Jhelum. View looking towards town.[Silver printing-out paper, 136x80mm]. View looking towards town on hilltop.[Silver printing-out paper, 136x81mm]. View looking towards trees and river in distance. Archaeological Reconnaissances, fig. 48: 'View to south-west from top of Tump-i-Kharg.' View looking towards trees growing round oasis, with a camel in the foreground. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 279, there titled, 'The well at Mashki Chah'. View looking towards two figures posed on top of a rock pinnacle.[Gelatin silver print, 163x216mm]. View looking towards unidentified buildings. View looking towards unidentified buildings (?Peterhof). View looking towards unidentified buildings (the resthouse?), with mountains swathed in clouds beyond.[Silver printing-out paper, 121x96mm]. View looking towards unidentified group of buildings.[Albumen print, 247x193mm]. View looking towards unidentified mountain range. View looking towards unidentified ridge. View looking towards Valerian's Bridge across the Karun, with police group standing in courtyard in foreground. View looking towards Vijayawada. View looking towards village, with cliffs beyond. View looking towards village, with mountain ridge beyond.[Sepia-toned print, 310x192mm]. View looking towards village.[Silver printing-out paper, 135x81mm]. View looking towards village and distant mountains, with poppy fields in foreground.[Gelatin silver print, 164x108mm]. View looking towards village and surrounding date groves. View looking towards village from the riverside. A wooden jetty runs down from the houses to the boats at the water's edge. The houses of the village are thatched in typical Bengali style, a semi-domed shape, with curved coming down to four pointed corners. Original negative and modern copy print at Photo 527/2 (62). View looking towards wall, where a European figure (possibly Watson) is playing with dogs.[77x104mm]. View looking towards walled area (?caravanserai), with dak bungalow in foreground.[101x74mm]. View looking towards walls. View looking towards walls of fort, with open-air market in foreground. Photograph uncredited, but probably by Macdonald rather than Bell. View looking towards walls of town, with baggage on ground in foreground.[100x76mm]. View looking towards warehouses, partly submerged.[Gelatin silver print, 98x73mm]. View looking towards waterfall, with porters and jampans (a type of sedan chair) grouped in the middleground on the riverbank. Duplicate at Photo 222 (51). View looking towards waterfront buildings, with children swimming in the river in the foreground.[97x73mm]. View looking towards wooded hills dotted with bungalows.[Sepia toned print, 132x75mm]. View looking towards wooden hut, with the forested valley beyond. View looking towards Yambrok Tso, with two tents in the middleground.[Gelatin silver print, 141x92mm]. View looking towrads the Lal Mundi palace? View looking up a cobbled road towards the town. View looking up a gorge strewn with debris towards a railway viaduct.[Printing-out paper, 115x90mm]. View looking up along the stream bed towards the box girder bridge. View looking up an unidentified river towards a wooden footbridge, with mountains beyond.[Albumen print, signed 'Sach� 521' in the negative, 288x233mm]. View looking up a stream towards mountains.[Gelatin silver print, 108x166mm]. View looking up Carnac Road with the Crawford Market on the left. View looking up driveway towards bungalow. Poor quality. View looking up from the road towards a train entering a tunnel. View looking up gorge towards cliffs. (Ancient Persis Map C3). View looking up hillside towards a line of camels on the brow. Faded print.[Silver printing-out paper, 131x79mm]. View looking up hillside towards post.[Albumen print, 233x189mm]. View looking up hillside towards split in rock face. View looking up hill towards ruined structures. (Ancient Persis Map, B3). View looking up mound, with man in foreground and man standing on summit. View looking up mountain valley. View looking up-river, possibly in the Sind Valley.[Albumen print, numbered '832' in the negative, 275x215mm]. View looking upriver, with peaks in distance. View looking up river. View looking upriver. View looking up river. View looking up-river along the Lidar towards a cluster of houses on the riverbank, with mountains beyond.[Platinum print, 198x153mm]. View looking up river gorge towards peaks. With French translation of caption on reverse of print.[Gelatin silver print, 192x306mm]. View looking up-river towards a series of cascades. View looking up river towards jungle-covered hills.[Gelatin silver print, 134x77mm]. View looking up-river towards mountains, with three Kashmiri men posed on the river bank in the foreground. Caption taken from the Baker and Burke catalogue.[Albumen print, signed ' W. Baker 482' in the negative, 197x145mm]. View looking up-river towards mountains. Duplicate at Photo 625/2 (31).[Albumen print, 275x214mm]. View looking upriver towards mountains. Inscribed in pencil on reverse: 'No. 1180. Scind River & Valley below Sonamarg.'[Albumen print, signed 'Burke 1180' in the negative, 276x208mm]. View looking upriver towards mountains. View looking up-river towards the bridge. View looking upriver towards the cantilever footbridge. View looking up-river towards the Nam Yo Falls. View looking up-river towards the small wooden bridge and bungalow. View looking up-river towards the wooden footbridge and bungalow. View looking up rocky hillside towards sheer cliffs, the haunt of ibex. View looking up slope towards fort. View looking up slope towards ruins. (Ancient Persis Map, B3). View looking up snow slope towards a line of yaks. View looking up steep slope towards bastion and wall. (Ancient Persis Map, B3). View looking upstream. View looking upstream. View looking upstream along an unidentified river (probably in the Sagaing Division).[Albumen print, 148x96mm]. View looking upstream along the river, with an encampment of tents in the right foreground.[Albumen print, 284x235mm]. View looking up-stream along the river. View looking up-stream along the valley towards snow-covered peaks.[Captioned and signed 'Holmes 212' in the negative, 243x289mm]. View looking upstream towards a girder railway bridge, with a railway trolley midway.[Printing-out paper, 152x108mm]. View looking upstream towards a waterfall. View looking upstream towards the small wooden footbridge. View looking upstream towards the wooden footbridge. View looking upstream towards the wooden footbridge across the stream, with three Europeans posed on the bridge. View looking up the gorge. View looking up the gorge towards the single span viaduct. View looking up the hillside, with the towers of the Jain temple visible on the skyline (the building itself largely obscured by trees). View looking up the hillside towards the Government House and offices on Penang Hill. Signalling mast with time ball on the skyline. Photograph probably by Feilberg. View looking up the hillside towards the walls of the fort. View looking up the Kamri River towards the nullah in the distance. Panoramic view.[Silver printing-out paper, 58x148mm]. View looking up the Lake from the south end. View looking up the Lidar River.[Printing-out paper, 287x211mm]. View looking up the Lidar River towards mountains. Inscribed in pencil on reverse: '734. Eternal snow peaks & Forests at Aro.'[Albumen print, numbered '734' in the negative, 274x208mm]. View looking up the Liddar Valley. View looking up the nullah, with point marked (out of pricture) where Haughton shot a large markhor.[Silver printing-out paper, 97x121mm]. View looking up the path. View looking up the river valley towards Gusherbrum, Broad Peak, K2 and other mountains of the Karakoram. A note in Younghusband's hand reads 'I discovered this valley in 1887 and again visited in 1889. F.E.H.' Faded print.[133x80mm]. View looking up the sheer rock face towards the fort on the summit. View looking up the Sind River towards Sonamarg and its glacier. Inscribed in pencil on reverse: 'Sind River and glaciers.'[Albumen print, numbered '754' in the negative, 274x209mm]. View looking up the Sind Valley towards Sonamarg peak and glacier. Inscribed in pencil on reverse: '757. Sind Valley glaciers & numerous waterfalls.'[Albumen print, numbered '757' in the negative, 272x207mm]. View looking up the snow-covered pass towards mountains. View looking up the stream bed. View looking up the Tara Hka river.[Gelatin silver print, 131x81mm]. View looking up the valley towards distant peaks. View looking up to hill-top fortifications. View looking up towards fort, with mountain peak beyond.[Silver printing-out paper, 97x121mm]. View looking up towards fort from roadway below. View looking up towards inscription carved on rock face. View looking up towards ruined fort at top of mound. View looking up towards ruined wall. Gedrosia, fig. 46. Lanjar is described by Stein as a 'narrow but comparatively well cultivated belt of ground...now-a-days the chief permanent settlement of Jhau' (Gedrosia, p. 137). View looking up towards Viceregal Lodge. View looking valley. View looking west along Merchant Street, with the Sule Pagoda at right, and spire of Holy Trinity Church visible in the distance. The tower of the Roman Catholic Cathedral is at the right. Junction with 38th Street in right foreground. This is a cropped version of print 160. This print also appears in vol II of H.R. Spearman's 'The British Burma Gazetteer' (2 vols, Rangoon, 1879-80), p.567. View looking west along Merchant Street. This is the same view as seen in print 159 (qv), but less tightly cropped and showing more at the right and left-hand side of the street. Another copy at Mss Eur E290/103 (9). View looking west along the Mula River from the Fitzgerald Bridge towards the Jamsetji Bund, with the Bund Gardens on the left. Plaque on bridge commemorates its construction in 1866-67 to the design of Captain Robert Sellon Sellon RE. View looking west from Jako. Christ Church at extreme right. View looking west from the Town Hall, across Elphinstone Circle and along Church Gate Street towards the tower of St Thomas' Cathedral. Construction work in progress at the junction of Church Gate Street and Parsee Bazaar Street. View looking westward along a straight avenue towards the town of Srinagar, with the Raja's Palace just visible in the distance on the right. Cantonment sports fields on the left. Stereoscopic pair. View looking westwards across the Bosphorus from Uskudar (Scutari), with two paddle steamers moored in the foreground. The Galata Tower can be seen on the skyline on the European side.[Albumen print, 321x258mm]. View looking westwards across the bridge from the east bank. An excellent view, with the roadway in the foreground busy with bullock carts and pedestrians. The date of 1909 visible on the pediment of a building on the riverbank supplies the earliest possible date for this photograph. View looking westwards towards the lake. View looking westwards towards the south-east gate of the Bala Hissar, with the Sher Darwaza Heights (left) and the Asmai Heights (right) in the background. This view links with print 6 to form a panoramic view of the Bala Hissar. Duplicate (in better condition) at Photo 197 (33 [left hand portion]). View loooking across the lake towards the wooden footbridge in the Cantonment Gardens, with the spire of the Shwe Dagon Pagoda in the skyline. View near Srinigar, looking over lake to distant mountains. View north along the eastern side of the hill, looking along the road leading up to the fort. Part of the Man Mandir Palace can be seen in the left foreground. View of 'much decayed remains of stone walls on the top of an isolated narrow ridge rising to over 150 feet above the bed. They extend for about 170 yards from north-east to south-west, the once-occupied space on the top having a maximum width of about 60 yards. The rough stone walls evidently belonged to a small fort or place of refuge, as indicated also by the stone heaps which marked the position of towers' (Gedrosia, p. 29). View of (?Irula) village, with dancers and musicians gathered in front of houses.[Gelatin silver print, 110 X 83 mm]. View of a backwater. View of a battery in the fort with a military camp in the distance. Possibly one of Baker & Burke's views of Attock listed in their catalogue. View of a bay. View of a bazaar. Caption on the negative reads: 'Bazar � G�zir�h'. View of a bend in the Brisbane River. View of a bend in the track on the Sind-Pishin line. View of a Bengal(?) village. View of a boat being rowed up river. View of a boat being rowed up river towards Howrah Bridge. View of a boat off the coast. View of a boat on a river. View of a boat on a river with a group on the bank. View of a boat on the river with Ramsden's wife aboard. View of a boat party on the river. View of a boat passing a village. View of a bridge. View of a bridge. View of a bridge in Waziristan? View of a bridge of boats. View of a bridge on the Sind Pishin State Railway. View of a bridge over a river. View of a bridge over a river. View of a bridge over a river in Assam? View of a bridge over the Beas river. View of a bridge over the canal. View of a bridge over the river. View of a bullock cart on the road. View of a bullock-driven water mill drawing water from the Fuleli Canal. Another copy at Photo 940/1(30). View of a busy street looking towards a clocktower and gateway. View of a camel driver sitting resting at the side of the road. View of a camel train negotiating a wooden bridge above the Panjkora river. View of a camp. View of a camp on the lakeside. View of a campsite by a river, with a European woman sitting at the river's edge in the foreground. Caption on verso reads: '...at Kotawai looking downstream. Called Poorbia because near its .[?]. the remnant of the 55 Poorbia regiment of mutineers was destroyed & captured'. Another copy of this photograph can be found at Photo 1143/1 (16). For a note on the photographer attribution, see collection introduction. View of a campsite in a forest clearing. The nature of the camp is unclear; it may be part of a political mission or military exercise. View of a campsite in open country. View of a cane suspension bridge. View of a cane suspension bridge over a river in Manipur. View of a canoe on the river. View of a cantonment? Print captioned '1889-94'. View of a caravan, with a railway tunnel visible in the distance. View of a caravan arriving at the serai. View of a caravan at a level crossing, the station in the background. View of a caravan at rest. View of a caravan crossing into Afghanistan. View of a caravan crossing into Afghanistan. View of a caravan en route to Kabul. View of a caravan entering a city gate. Possibly taken at the time of the British occupation of the city during the Second Afghan War, 1879-80. View of a caravan passing a frontier post. View of a caravan passing along a road. View of a caravan passing along a road. View of a caravanserai? Possibly taken at the time of the British occupation of the city during the Second Afghan War, 1879-80. View of a cemetery in the fort. View of a chhatri at the water's edge, Agra? Small faded print. View of a cliff face. View of a cobbled street in the Galata District of Istanbul. Print in poor condition, with overall spotting and yellowing.[Albumen print, 305x379mm]. View of a compound with troops standing to the right. View of a conical hill capped by a rock formation. View of a country road with bullock carts in the distance. View of a crevice. View of a crowd of women at the water's edge. View of activity on the docks. View of activity on the riverbank with a houseboat moored nearby. View of a dam on a reservoir. View of a deep river valley from the road. View of a dried-up tank. View of a dwelling built under an overhang. View of a dwelling in a cave at Garha. View of a European couple by a footbridge. Another copy of this photograph can be found at Photo 1143/1 (44). For a note on the photographer attribution, see collection introduction. View of a European couple in a boat. View of a family sitting in rocky hollow at the river's edge. View of a ferry carrying a bullock cart over a river. The ferry consists of two canoes lashed together with a central platform and ramp. View of a ferry crossing. View of a ferry crossing the Narmada, after floods? View of a flock of sheep and shepherds at the water's edge. View of a flooded garden. View of a footbridge over a river. View of a footbridge over a river. View of a footbridge over a river. View of a footbridge over rapids. View of a forest clearing. Two crosses at the side of the print identify 'Lady Canning and Lady Campbell', who are seen walking in the distance. View of a forested hill with bungalows dotted along the ridge. The original caption is annotated with: '(or in the Galis?)'. View of a forest hut with mountains beyond. View of a forest path. Darjeeling District? View of a forest path. View of a forest track. View of a fortified lakeside or palace building. View of a fortified village. View of a fortified village. View of a fortified village near a river. See notes with Print 2. View of a fort overlooking the river. View of a garden. View of a garden. View of a garden. View of a ghat at an unidentified location. View of a ghat by the Vishvamitri River? View of a ghat on the Chambal. Duplicate at Photo 430/40 (18). View of a ghat on the river, with local craft moored near the steps. View of a grassy plain surrounded by forest. View of a group looking down at the temples. View of a group of huts for the accommodation of famine relief camp workers. View of a group of mud craters.[Gelatin silver print, 205x150mm]. View of a group of permanent masonry wells at Amanisha. View of a group of permanent masonry wells at Amanisha. Views of the reservoir when full are at Photo 448/9 (146-147). View of a group of Tibetan houses, with a pool in the foreground, and the Potala Palace visible on the skyline in the distance.[Photogravure, 148x114mm]. View of a group teeing off. View of a herd of mountain goats. View of a hill road, with two Indian figures. Small faded print. View of a hill village. View of a hilly landscape. View of a horse and cart by a bridge. View of a houseboat moored at the lakeside. View of a houseboat moored by the riverbank. View of a Indian dwelling. View of a jungle river. View of a lake. View of a lake. View of a lake in the shadow of a rocky hill. Another copy at Photo 50/1(82). One of the series of views taken by Simpson and marketed by Bourne & Shepherd.[Albumen print, signed 'B. Simpson 8' in the negative, 292x225mm]. View of a lake with a pagoda behind trees in the background. View of a large, solitary mango tree. Duplicate of Photo 1000 (4237). View of a large banyan tree. View of a large stand of eucalyptus trees. View of a line of cattle ascending the path, with baggage strapped to their backs. The animals seen here are not markhoor (a type of large goat with spiralled horns), and the caption may refer to an item of baggage carried by the animals. Stereoscopic view. View of a lock on Ismailia Canal. View of a locomotive on a bridge. Below, a caravan passes along the dried-up river bed. The name 'Weightman' appears above the print suggesting that he took the photograph. View of a long fishing boat. View of a long straight stretch of river. View of a long wooden canoe transporting a bullock cart across a river, possibly the Irrawaddy at Mandalay.[Gelatin developing-out paper, 240x168mm]. View of a loop on the line, with a trolley on the lower level, and a passenger train crossing the wooden trestle bridge on the upper part of the loop. View of a low building in a garden. View of a Malay kampong on the water's edge, the houses raised on stilts. Photograph of the area to the west of the town. View of a man crossing a rope bridge. View of a man playing a golf shot. View of a man standing in a clearing. View of a man standing on a rough path. View of a mass of oil-wells. View of Amber Palace and the Jaigarh Fort from the Maota Lake. View of a military camp. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. View of a military camp. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. View of a military garrison. View of a mountain. View of a mountain lake. View of a mountain lake. View of a mountain lake. View of a mountain lake with a European couple standing on the shore. Another copy of this photograph can be found at Photo 1143/1 (19). For a note on the photographer attribution, see collection introduction. View of a mountain pool. View of a mountain track running through a gorge. View of a mountain village. View of an aqueduct connected to the cisterns. View of an avenue. View of an avenue with part of the church visible on the right. View of an elephant crossing a river. View of an excursion boat on the river. View of an island palace. Print signed: 'C. Thomson 1890'. View of an ivy-covered building. View of an old bridge in a hilly landscape. View of an orchard at Goomsur (formerly Russellkonda). View of a paddle steamer moored at a ghat on the Myitnge, with a railway bridge in the background.[Printing-out paper, 98x70mm]. View of a paddle steamer under way on the Irrawaddy. For another view of the 'Brigand', see Photo 1085/6(82).[Printing-out paper, 98x69mm]. View of a paddy field, with labourers at work. View of a palm grove. Possibly the photograph described in Nicholas & Co's catalogue as 'Madras. No 31 Cocoanut Palms'. View of a palm-lined road. Possibly the photograph described in Nicholas & Co's catalogue as 'Madras. No 30 Palmyra Palms'. View of a palm-lined road. View of a path in a forest. View of a path lined with palms. View of a paved walkway. View of a pavilion. View of a pavilion and channel. View of a plane tree in the palace gardens.[Albumen print, signed 'Abdullah Fr�res' in the negative, 201x258mm]. View of a plateau in the hills. View of a plateau with a horse and rider in the distance. View of a pond. View of a pond in Sayaji Bagh. View of a pool in a rocky landscape. View of a poplar avenue. View of a pottery at Yenangyaung, with thatched buildings and a pile of chatties or round earthenware pots lying in the foreground. Letterpress continues: 'Petroleum is exported from Ye-nan-gyoung (whence its name river of fetid water) in pots such as represented above'. A tear in the paper negative from which this photograph can be seen in the bottom left-hand corner. View of a principal street in Lucknow. The building on the left, with Europeans standing above the porch, has two signs. Hanging from the porch is a sign which reads, 'Murray's' and propped against the front of the building is a sign reading, 'Inland Transit Company'. View of a procession of elephants and carriages on a road. View of a raft-like ferry crossing a river. View of a railway bridge crossing the Amad ar ya, described on page 146 of Curzon's Russia in Central Asia (1899), 'It is an inelegant structure built entirely of wood, which was brought all the way from Russia, and rests on more than 3000 piles, which are driven very close together into the bed of the stream...Our train crawled very slowly across, and occupied fifteen minutes in the transit'. View of a railway line crossing a stretch of water on a causeway, described on page 68 of Curzon's Russia in Central Asia (1899), 'Finally the train starts, crosses a long embankment of 1300 yards, by which the islet is united to the mainland, and plunges into the sullen dunes of the desert'. View of a railway line showing a railway trolley on a bridge. View of area of ground enclosed by wall at the house of the Palha family.. View of a reservoir. View of a reservoir. View of a river and mountain landscape. Possibly North American? View of a river passing through a forest. View of a river running through a wood. View of a river running through the garden. View of a river through the trees. View of armed guards walking along a country road. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 192, there titled, 'Soldiers of Yun-nan'. View of a road and gardens. View of a road bridge. View of a road follwing the course of the river. View of a road passing through a village or small town. View of a road running alongside the Lake. View of a road running parallel with a river. Two European men are posed in the centre and a camera is visible further down the road. View of a road winding up a hill. View of a road with buildings on either side. View of a road with mountains in the distance. View of a road with Rajput buildings along either side. View of a rock face, with an Indian figure posed above. Bloch dismisses this as 'a mere landscape view' , but there appear to be inscriptions on the rock, which would account for the photograph being taken. Small format print. View of a rock formation. View of a rough country road with Indian guides and a pony. View of artefacts in excavated pit. View of a ruined building by a lake. Duplicate at Photo 10/13 (35). View of a ruined fort(?) overlooking a river. View of a ruined masonry wall. View of a ruin in jungle. View of a sandy bay with rough shacks in the foreground. Trial Bay is on the east coast of the Northern Territory in the Gulf of Carpentaria. View of a series of cascades on the Nam Pawn River.[134x78mm]. View of a simple footbridge over rapids. View of a small bridge leading to building beyond. View of a small hill station. View of a small rail bridge over a river. View of a small river running through the jungle, with hills in the distance. The stockade possibly refers to events during the Wuntho Sawbwa Campaign of 1891. View of a small sailing vessel with the town beyond. View of a small steam launch under way in Hong Kong harbour. View of a small stone bridge with an Indian group on top. View of a small waterfall. Print unsigned, but probably by Nicholas & Co., and possibly the print listed in the firm's catalogue (copy at Photo 745) as '16. Silver Cascade from down stream'. View of a small wooden footbridge. View of a small wooden footbridge. The main bridge is out of the picture, as a facetious note beneath the print points out: 'Photographer being a Chinaman appears to have thought that the willow pattern bamboo bridge was what he was expected to photograph'. Photograph enclosed with Agent's letter 456 of 23 April 1906. View of a small wooden roadbridge. View of a snow-covered road in Simla View of a steamer on the canal. View of a steamer passing a dredger on the canal. View of a steep hill approached by an avenue of trees. View of a steep riverbank with local craft and activity on land. View of a steep section of the road beside the Indus, with climbing ladders in place. A commercial photograph.[Silver printing-out paper, 115x178mm]. View of a sternwheel river steamer under way, with hills beyond.[Hand-coloured albumen print, 270x210mm]. View of a stone bridge over a canal. View of a stone bridge with a crude wooden footbridge running beneath it. View of a street scene with a water channel crossed by small foot bridges. View of a tank bordered by temples and other buildings.. View of a tank bordered with palms. View of a tank in Dilkusha Gardens. View of a tank with a temple on the far shore. View of a tank with ghats and chhatris . View of a teak raft on the river.[Printing-out paper, 97x71mm]. View of a tent pitched near a river. Another copy of this photograph can be found at Photo 1143/1 (31). For a note on the photographer attribution, see collection introduction. View of a tonga passing along a country road near Peshawar. View of a town by Bhavnagari photographers. Print is tightly rolled. View of a town square with a shrine or memorial in the centre. Print listed in an accompanying manuscript list of Herzog & Higgins' Nepal views, dated 1901, and written by Miss Edith Ashton. View of a track along steep hillside. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 248, there titled, 'The road a little west of Hsia-kuan.' View of a track going through a tunnel in a mountainous landscape. View of a train crossing the bridge with a group in the foreground. View of a train in the Pass. View of a train negotiating the Loop on the Darjeeling Hill Railway. View of a train rounding Agony Point.Stored separately in Print Room planchest 6C.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. View of a tree-covered hill in the Ambela region. View of a tree lined hillside. View of a tree-lined road. View of a truck crossing a weir. View of a truck parked on a hill road. View of a two-tiered, arched, stone bridge. View of a valley. View of a valley with a settlement in the distance. View of avenue and gateway. Better print at Photo 806/4 (9). View of avenue of poplars.[81x79mm]. View of a village. Small faded print. View of a village. View of a village. View of a village by a river. View of a village on a mountain ridge. View of a village scattered across a hillside with a chapel at the top. View of a walled enclosure with a temple in the background. View of a water channel in Shalimar Bagh. View of a waterfall. View of a waterfall and pool in a wooded landscape. View of a waterfall and rock pool. View of a weir. View of a winding path in a jungle. View of a wooded hillside with scattered bungalows. View of a wooden footbridge. View of a wooden footbridge. View of a wooden footbridge crossing a lake. View of a yard with workshops and parts. View of Baltistan men bridging rapids with timber poles. View of bamboo clumps by the riverside at Katha, with a European lady on an elephant at the left.[Printing-out paper, 96x73mm]. View of bamboos. View of Banihal Pass. View of banyan tree, with note reading 'In the Handbook'. This refers to the reproduced version in J.G. Scott, 'Burma. A handbook of practical information' (London, nd), facing p. 220.[Albumen print, 118x181mm]. View of banyan tree in the public gardens.[Albumen print, 278x219mm]. View of barges (one of which is probably the Maharaja's), on the river on an unspecified occasion, with the Library buildings on the far shore.[Silver printing-out paper, 205x127mm]. View of bathers and others at the top of the ghat. View of beach and cliff. View of beach and European bungalows. View of beach from terrace of hotel. View of bell foundations in place in the river, with a local boat equipped with a hoist in front.[Albumen print, signed 'J. Lloyd 30.3.76' in the negative, 266x209mm]. View of bell foundations under construction, with steam engines in foreground.[Albumen print, signed 'J. Lloyd 30.3.76' in the negative, 269x216mm]. View of birds at a lakeside. View of boating party in the gorge. View of boats at the canalside. View of boats by the riverbank. View of boat sheds on the banks of the canal. View of boats on the beach. View of boats on the beach. View of boats on the river. View of boats sailing up river. View of boundary commission tents pitched in a field of grazing cattle, with houses on the hillside beyond.[Albumen print, 242x189mm]. View of bridge, gateway and town. View of bridge damaged by flood. View of bridge spans being hoisted into position by a gantry crane. The river is visible in the background, with bridges piers leading off to the left.[Albumen print, 243x178mm]. View of bridge submerged by floodwater. View of bridge with houseboats in the foreground. View of buildings, with escort horses lined up in foreground. Faded print.[109x83mm]. View of buildings at the ghats. Small faded print. View of buildings inside the perimeter of Fort Stedman.[Albumen print, 248x170mm]. View of buildings on hills above the lake.[Silver printing-out paper, 206x146mm]. View of buildings on the island at Mandhata. View of buildings on the waterfront. View of bullocks ploughing fields. Poor quality snapshot. View of bungalow at the sanitarium of Dungagali. Another copy of this photograph can be found at Photo 1143/1 (25). For a note on the photographer attribution, see collection introduction. View of bungalows on the summit of the wooded ridge, with an Indian figure playing a flute in the foreground.[Albumen print, 240x191mm]. View of bungalows set among trees. View of cairn at head of pass. View of cairn of stones, with Everest in the distance in the background.[Photogravure254x203mm]. View of cairns with figure standing in foreground. View of camel caravan. View of camel caravan on road. View of camels in a compound. View of camp, with caves in background. View of camp, with Henry Hubert Hayden shaving in front of his tent. View of camp, with tents largely obscured by trees and foreground flowers. View of camp, with three figures seated at entrance to tent.[Gelatin silver print, 128x76mm]. View of camp, with yaks in foreground. View of camp. View of camp amongst trees. View of camp and fortifications. Duplicate at Photo 481/2 (23). View of camp beside the river. View of camping ground and dzong. Duplicate at Photo 20 (5). View of camp on a hillside. View of camp on a river bed. View of camp on the river bank. View of camp pitched in a field, with village houses beyond. View of campsite, with figures posed in front of tents: 'Took a photo of the tents and of the Pongyi kyaung' (Scott's diary, 6 September, OIOC Mss Eur F278/4 f. 67). Duplicate at Photo 92/5 (49).[Albumen print, 178x111mm]. View of campsite, with fort on the hill behind, with various identified figures posed among the tents. View of campsite, with hills beyond.[83x131mm]. View of campsite. with tower in distance. (Ancient Persis Map, B3). View of campsite and massive rock in foreground, looking towards a line of snowy peaks beyond. For note on caption and dating, see print 11.[Printing-out paper, numbered '20390' in pencil on reverse, 291x240mm]. View of campsite beside river.[Albumen print, 152x102mm]. View of campsite in valley, with yaks arriving and group of porters in background. The Mir is presumably the Mir of Hunza. Precise location unidentified.[Gelatin silver print, 293x218mm]. View of campsite on open ground, with mountains beyond. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 77. Another copy at Photo 364/2(20). View of campsite with mountains beyond. View of campsite with two tents. View of camp with mountain pass in the distance. View of camp with tethered horses grazing.[Platinum print, 100x74mm]. View of canal. View of canal and houses. View of canal and waterfront houses.[Gelatin silver print, 160x188mm]. View of cane suspension bridge. View of cannon in front of mess. View of Captain Henry Morshead entering data on a plane-table, with a theodolite on a tripod in the foreground. An Indian orderly shields him against the sun with an umbrella. View of caravan passing the Ali Masjid. View of caravan road above, motor road below. View of caravans stretching back along the top and bottom roads. View of cascades at cave entrance.[132x81mm]. View of cascades on the river.[105x69mm]. View of catamarans on a beach fringed with palms. View of cave entrance, with human occupation. (Ancient Persis Map B3). View of cave entrance and Me Hang River.[Printing-out paper, 78x105mm]. View of Chamundi Hill from the Mysore Residency. For another copy of this print, see Photo 1000 (2285a).[Albumen print, signed in negative at bottom left corner 'H. Dixon Phot', 290x230mm]. View of cist in excavated trench, wrapped for transportation. View of cist in excavated trench. View of cists in excavated trench. View of cliffs and wooded hillsides. View of clouds below the hills. View of coastal fortifications with a battery in the foreground. View of coastline. View of collapsed bridge. View of Colombo Breakwater during the monsoon, with waves breaking over the pier and shipping at anchor in the harbour beyond.[Albumen print, 279x220mm]. View of construction work in progress. Print in poor condition.[197x147mm]. View of cotton storage area after fire.[Silver printing-out paper, 136x80mm]. View of country boats shifting stone, with a river steamer in the background.[Gelatin silver print, 237x183mm]. View of countryside, showing earthquake fissures. View of cremation taking place at the Burning Ghat. View of crowds in a village. View of crowds in the bazaar. View of daily activity on the banks of the river. View of Dal Lake looking through trees. View of damaged plants. View of Darjeeling enclosed within a painted floral border. View of derrick at water's edge for landing supplies.[Albumen print, 211x156mm]. View of destruction following a conflagration. View of diggers at work, silhouetted on skyline. Archaeological Reconnaissances, fig. 47: 'Excavation on debris ridge, Shahr-i-Daqianus View of diggers at work on site. (Ancient Persis Map C3). View of diggers in excavated pit. View of distant hills. View of distant hills. View of distant Himalayan peaks. Photograph probably by Lawrie & Co. View of distant Himalayan peaks. View of distant mountains. View of distant mountains. View of distant mountains through trees. View of distant mountains with houseboats in the foreground. View of distant peaks. View of distant peaks looking through trees. View of distant peaks with trees in the foreground. View of distant snowy peaks. View of distant snowy range. View of doongas. View of dwellings in a forest clearing. View of dwellings next to paddy fields. View of electricity pylons running across the ravine. View of encampment, with remains of stone throne at left. 'Behind it my tent. Behind mine, Harnett's. In centre I am sitting in a chair writing. Right centre, our mess tent, lent by Ku-sho Do-ring. Kitchen tent behind me. Servants' tents here and there. The camp is on a meadow; the turf is the best we have seen since crossing the Tang La.' View of encampment of tents, erected for the wedding of Sir Montagu Butler's daughter Iris to Lieutenant-Colonel Gervas Edward Portal.[288x242mm]. View of encampment of tents, with mountains beyond.[Silver printing-out paper, 121x96mm]. View of English countryside? View of European bungalow and Indian houses. View of European garden, with Mrs Monro and two children standing at left. View of European group negotiating a bamboo path along the face of the gorge.[Gelatin silver print, 81x139mm]. View of Europeans bathing in the sea. View of excavated area, With Agha Buzurg standing beside pit. (Ancient Persis Map B1). View of excavated area, with diggers posed for photographer. View of excavated area of Persepolis site. View of excavated drain, with figure standing above. View of excavated pottery at find-spot. View of excavated site, with figure standing in left foreground. View of excavated site. View of excavated site. View of excavated site. View of excavated site. This is the site Leonard Woolley was in the process of excavating. Stein spent four days with Woolley and his wife at Ur. View of excavated stupa base, diggers standing at left. View of excavated trench, unsharp. View of excavated trench, with burial chamber. View of excavated trench, with group of urns. View of excavated trench. View of excavated trench. View of excavated walls of Room I.vii at Kulli, with pots lying on the floor inside. Gedrosia, fig. 40. View of excavations, with diggers at work. View of excavations, with diggers posed for camera. View of excavation site, with work in progress. View of excavation work on the river bank, with the Jhelum visible in the background.[Printing-out paper, 292x216mm]. View of exterior of railway station, with bullocks carts drawn up in front of the building. View of falls on the river.[Gelatin silver print, 138x81mm]. View of falls on the river.[Gelatin silver print, 81x139mm]. View of farm labourers working in a field. View of fenced-off area and plaque near the Post Office. View of ferry crossing. View of ferry in mid-stream, slightly unsharp.[Gelatin silver print, 139x82mm]. View of field of opium poppies. Faded print.[141x82mm]. View of fields. View of fields and river. View of fields at the lake's edge, possibly for growing singhara, or water-nut, or another water plant for harvesting. View of fields with mountains in the distance. View of field with horses grazing and wall on far side. View of flooded countryside at Palamcottah (Palayankottai) View of flooded railway bridge, with F.G. Arnould standing in foreground. View of flood plains and hills. View of flowerbeds, with figure identified as 'T.K.' standing in background. Faded print.[109x84mm]. View of flowerbeds. Faded print.[83x141mm]. View of flowerbeds and perimeter wall. Faded print.[82x140mm]. View of flower pots around the bungalow entrance. View of flowers in a garden near the east bank of the Dal Lake. View of Foley's equestrian statue of Lord Hardinge, seen from the west with the Ochterlony Monument and Chowringhee in the background. [288x230mm]. View of footbridge over rapids. View of footbridges over a river. View of forest and mountains. View of forest vegetation. Photograph probably taken on the same day as print 223. 'Hwe Ka Han' is listed in Scott's Gazetteer as 'A small tributary of the Melayu on its northern bank. Along its banks lie the main route to Me Hawng Hsawn in Eastern Karen-ni from Ta Taw Maw. The road crosses and re-crosses the stream constantly.'[Albumen print, 187x237mm]. View of formal pools and pavilion in the Shalimar Bagh. View of fort entrance. View of fortifications on distant hill. View of fortifications on the river. View of fortified camp with British troops (probably Royal Artillery) and guns of the Malakand Field Force. View of fortified village. View of fort walls with part of lake in foreground. View of fountains. View of four falls named as: 'Rojat, Roarer, Wadim Blanche [and] Rorket'. This may be a Nicholas & Co print as a similar view is described in the List of Nicholas and Co's photographic views (Madras 1896) as: 'The Four Falls. The Rajah, the Roarer, the Rocket and La Dame Blanche.' View of four figures on horseback, with buildings beyond. View of frozen waterfall, with figure standing at base. View of furniture and other objects in verandah: 'Seat of bearskin with cloisonn�, with lion behind, elephant tusk in background; low table with jade teacup on left; high table on right with Chinese porcelain figures; steps in foreground leading to innder room where blessings are given. In summer especially he spends whole days here.' View of garden overlooking a river. View of gardens and lake at Wellington, near Coonoor. View of gate with a bazaar in the foreground. View of ghari drivers standing by their carriages. Message reads: 'Bombay 11/4/05. Are you coming out for a drive, the gharry is waiting. Have sent you a letter, Jim'. View of ghat, with women drawing water from the Pichola Lake.[Gelatin silver print, 186xx263mm.] View of ghat pavilions. Small faded print. View of ghats, pavilions and other buildings round the tank. View of ghats, temples and other buildings round the tank. View of ghats. Duplicate at Photo 10/12 (34). View of ghats and bathers. View of ghats and bathers. View of ghats by a tank. View of ghats with Aurangzeb's mosque in the background. View of girders being positioned.[Printing-out paper, blind-stamped 'Lawrie', 291x209mm]. View of girder span in position on brick piers.[Printing-out paper, 289x208mm]. View of girder spans awaiting positioning on the Elgin Bridge.[Printing-out paper, blind-stamped 'Lawrie', 285x205mm]. View of glacier, largely covered in earth and rubble at this point, with a small section of the Tsangpo visible in the distance. For a description, see No Passport to Tibet, pp. 120-121. View of glacier and mountain peak beyond. Duplicate negative, no print. View of glacier with campsite in the valley below. View of golf course. Blurred print. View of golf course. View of gorge and heavily wooded hillside.[Albumen print, 164x104mm.] View of gorge showing rock strata. View of Grand Harbour from above the Barracca Gardens. View of granite rock formation at Kosigi in western Andhra Pradesh. The print is incorrectly captioned 'Madras' on the album page. The caption above is taken from the pencilled title on the reverse of the print. Although the print is unsigned, this caption corresponds with that given in the Nicholas & Co catalogue (Photo 745), and the photograph is almost certainly by this firm. View of grass huts, with group of porters in foreground. Another copy of this print, at Mss Eur F157/484 (114), is captioned on the reverse, 'Camp, Etalin?'. View of grass huts in a jungle clearing. View of grass huts in the camp at Mipi. Very faded print. View of grave and marble cross. The inscription reads: 'Sacred to the memory of Ellen Mary Ellis, dearly beloved wife of Major A.J. Ellis, foully murdered at Kohat'. View of graves within walled enclosure.[Printing-out paper, 138x71mm]. View of grazing sheep. View of ground cleared for campsite. View of grounds. View of group, with ruins beyond.[102x75mm]. View of group crossing the Pass. View of group in camp (distant), with rock pillar in background. View of group of burial cairns. (Ancient Persis Map C3). View of group of nests. View of group of tents, with fort on hill behind. View of group of tents. 'In foreground, left to right, our mess-tent, my tent, on extreme right the chapel tent, where religious services are held four times daily. This last has an inner tent on the right, and a courtyard with kanaks and a large upper cover (cha-yap) covering all. The high priests sit in the inner tent on the right; the long rows for the lower monks come from the inner tent towards the left.' View of group on pathway. View of guns on ramparts overlooking the harbour. View of Gwen Tobin looking towards Chillum. View of Gwen Tobin sitting on a rock between the road and Kabul river? View of head of Lake Timsah. View of hill. View of hill porters climbing a mountain path. View of hill porters crossing a bridge. View of hills. Poor quality snapshot. View of hills. View of hills. View of hills. View of hills. View of hills. View of hills. View of hills. View of hillside, with fields on lower slopes.[Gelatin silver print, 140x82mm]. View of hillside and forest. View of hillside village. View of hillside with patches of snow and trees. View of hills in the vicinity of the confluence of the two rivers. View of hills near Ladha? View of hills near Udagamandalam (Ootacamund). Reproduced in Amy Wilson-Carmichael 'Oversights of Joy' (1907), there captioned 'Sunset on the foothills from Makurti Peak' and credited to Penn. View of hill station and mountain beyond. View of hill station with mountain in the background. View of hills with St John in the Wilderness Church on the right. View of hills with the church at the bottom right. View of hills with tribesmen posed in foreground. View of hilly land under cultivation, probably either at Baijnath or Sumali.[Albumen print, 165x108mm]. View of Himalayan mountain scenery. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 310x445mm]. View of Holmes, his wife, and drivers, standing beside their Motor Transport Service truck. View of Holmes' (?) car emerging from a tunnel. View of Holmes' party trekking through Burzil Pass. View of Holmes walking through Burzil Pass. View of horses on the road. View of horses pulling a Royal Artillery gun by the Panjkora river. View of houseboats. View of houseboats moored at side of lake, with palace of hillside beyond. Precise location unidentified, presumably near Srinagar.[Gelatin silver print, 303x204mm]. View of houses and palms. View of houses built along cliff face. View of houses from roadside, with Naga children in the foreground. View of houses on a hilltop. View of houses on hillside, with cultivated fields in foreground. Kotgarh stands north-east of Simla on a spur of the Hatu Range overlooking the Sutlej. View of houses on hillside at Ha. View of houses on the hillside at Darjeeling.[Albumen print, 199x146mm]. View of Howrah Bridge. View of huts and a camp on a hill. View of ice cave and stream at base of glacier. View of Indian Army soldiers on horseback on the pathway beside the river.[Photogravure, 148x114mm]. View of Indian guides standing on a snow-covered pass. View of inscribed pillar below the Potala Palace. View of inundated area among trees.[Gelatin silver print, 205x150mm]. View of iris meadows and trees.[Photogravure, 148x114mm]. View of irrigation canal works, with the river beyond.[Printing-out paper, 363x287mm]. View of island and temples. View of Jugi mat huts. View of jungle. View of jungle-covered hills. View of Kashmiri hill porters carrying baggage over a rough wooden bridge. View of labourers at work. Archaeological Reconnaissances, fig. 36: 'Start of excavation at Chalcolithic burial-ground, Khurab.' View of laden camel caravan, with cliffs in the background.[Sepia-toned print, 296x96mm]. View of lake, bridge, and houses beyond.[Albumen print, 220x172mm]. View of lake, framed by archway in foreground.[Gelatin silver print, 55x79mm]. View of lake: the duck cannot be distinguished. Faded print. View of lake and hills. View of lake and park. View of lake looking over flooded fields. View of lake showing a bridge leading to a central island. View of lakeside houses. Print in poor condition.[Silver printing-out paper, 197x148mm]. View of large European mansions in the Peak area, with military barracks in the right foreground. Print torn and folded and attached to front fixed endpaper. View of large gun on hillside, damaged during the Russo-Japanese War. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 294. View of latrine buildings in the Indian military base camp. View of line running through forest. View of lines of low huts for the accommodation of workers in the relief camp. View of local boats alongside the ship. View of local craft on the river. View of local craft sailing on the canal. View of locomotive of the Pawayan Steam Tramway Company, with passenger wagons, drawn up at the station. Piles of wood for fuel are piled up in the foreground.[Albumen print, signed 'Fry & Rahn' in the negative, 265x189mm]. View of long wooden hut in the Indian military base camp.[Silver printing-out paper, 177x127mm]. View of luggage and porters on the riverbank near the houseboat. View of main street. View of mango and other trees. Duplicate of Photo 1000 (4244). View of man walking on path with two horses through mountain pass.[Lantern slide, 75X75 mm]. View of members of Holmes' party at the river's edge. View of middle section of Chowringhee Road from the Ochterlony Monument. Prints 21-24 form a panoramic view of Chowringhee Road. View of military camp and fort. View of Mindat Sakan, a village in the Chin Hills near Mount Victoria. View of modern bridge. View of monastery and pagoda, with temple bell and chinthes in foreground. View of monastery buildings, surrounded by chortens (stupas). View of mound. View of mountain lake. View of mountain lake above Gulmarg. View of mountainous country, with horses grazing in foreground. View of mountain plateau. View of mountain ranges. View of mountain road, running parallel with river. View of mountain road. View of mountains. Probably by Murray. View of mountains. View of mountains. View of mountains and valley, with two men looking through binoculars in the foreground.[Gelatin silver print, 216x323mm]. View of mountains and valley. View of mountain scenery.[Gelatin silver print, 215x150mm]. View of mountain scenery. Poor quality print. View of mountain scenery. View of mountain scenery. View of mountain scenery. View of mountain scenery and river. View of mountains from the Donkhya La Pass. View of mountains from the valley floor. View of mountain track. View of mountain track. View of mountain with settlement just visible at its base. View of mouth of cave.[Albumen print]. View of Mrs Storrs-Fox being guided across an incline. Typescript notes read: 'This was a long snow slope just above where the bridge was broken at Liddarwat; you can't see the end of it, but it starts from the trees in the background. As the slope breaks off just above the river below, and the snow is apt to get slippery in the sun, Weg [Mrs Storrs-Fox], as you see, is proceeding very gingerly behind the tiffin coolie and holding tight on to his hand (so did I)'. View of mud craters, with a European man standing in the background.[Gelatin silver print, 205x135mm]. View of mud walls and tower. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 264, there titled, 'Village of Girdi Gab'. View of mules crossing river, with mountains beyond. View of newly-built suspension bridge. The print is unsigned, but is possibly by William Baker, in which case the supplied caption may be incorrect and the view might correspond to 'Suspension bridge at Kohala, near the bungalow', in the Baker and Burke catalogue.[Albumen print, 197x146mm]. View of nomads' tents, with fuel covered to keep it dry. View of one end of the bridge, with railway workers lining the superstructure. A locomotive can bee seen at the far left, possibly indicating a celebration of the first train to cross the bridge (see print 78).[Albumen print, 285x198mm]. View of open ground surrounded by trees, with group of Kashmiris posed in foreground. Inscribed in pencil on reverse: '770. Encamping ground at Kangan.'[Albumen print, numbered '770' in the negative, 276x210mm]. View of open ground with bungalows beyond. Possibly Infantry lines. View of open ground with bungalows beyond. Possibly the Infantry Lines. View of open ground with thatched houses beyond. View of open-sided building with food stalls on the way to the Kaungmadaw Pagoda at Sagaing.[Printing-out paper, 114x89mm]. View of ornamental pools and fountains in the gardens. View of pack ponies and donkeys on a country road beside a river. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 204, there titled, 'In the province of Yun-nan. 'It is said that half the arable area of Yun-nan is under opium''. View of pack ponies in a mountain landscape. View of pagodas on a steep hill, probably at Mong Heng. View of palace grounds. View of partially-constructed bridge, with machinery being moved on line in foreground. Print attached to following photograph by water damage. View of partially excavated bodies and funerary pots. Gedrosia, fig. 32. View of partially excavated remains. View of part of excavated site.[Albumen print, 244x202mm]. View of part of excavations, with labouers shifting earth. View of part of fort from interior courtyard, with tents in right foreground.[Platinum print, 100x74mm]. View of part of harbour and town, with sailing ships at anchor. View of part of Qasr-i-Bahram site. (Ancient Persis Map B1). View of part of the Chittar Falls. View of part of the city. View of part of the excavated site.[Albumen print, 252x200mm]. View of part of the falls.[Albumen print, signed 'H.D.' in the negative, 340x245mm]. View of part of the lake. View of part of the Sherpur Cantonment at Kabul, with soldiers posed for the photographer. Duplicate (in better condition) at Photo 197 (2). View of part of the town, with the harbour on the right.[Albumen print, 209x160mm]. View of part of the village, enclosed by a stockade of short stakes. With a granary raised on stilts in the right foreground. Peach tree in background. A faded print. View of part of town, with Nilgiri Hills beyond. View of passers-by standing under a street light. View of Pass partially covered by snow. View of Pasupati showing a bidge spanning the Bagmati river. Print listed in an accompanying manuscript list of Herzog & Higgins' Nepal views, dated 1901, and written by Miss Edith Ashton. View of path leading down to river, and showing cave entrance and sculptured niche of Mahishamardini (Durga) at right (see print 1966). This is the most westerly ghat, named for the unfinished cave (see print 1965). View of path through forest. View of paved path running up hill. Poor quality print. View of pavilion in garden, with two figures posed in front. Larger, unidentified group standing in background. (I.A. Map 7, D2). View of Pawayan Steam Tramway Company train crossing bridge. A faded and yellowing print.[Albumen print, 281x130mm]. View of peak. View of peak and glacier.[Gelatin silver print, 283x225mm]. View of peaks above the clouds. View of peaks in the Girnar Hills View of people waiting for the ferry. View of people washing clothes in the lake. View of Pichola Lake. View of Pichola Lake from the City Palace. View of pier structures being bedded into the river.[Albumen print, captioned in the negative, 254x201mm]. View of piles of unpressed cotton.[Silver printing-out paper, 138x82mm]. View of pitched tents. The first word of the caption is unclear.[Gelatin silver print, 88x62mm]. View of pitched tents with European women seated reading in front of one. This is probably the camp of officers of the Survey of India who observed the total eclipse of the sun on 22 January 1898 from Dumraon. View of plant life on the artificial lake. View of pontoon bridge across the Tigris. View of porters standing next to a torrent in the mountains. View of portion of each room, with dividing wall in centre. View of portion of mound, with excavated area in foreground. View of Port Taufiq, Suez. View of pottery artefacts in excavated trench. View of pottery in excavated trench. View of pottery pieces, bronze plate, lance head, etc., photographed in find spot. Archaeological Reconnaissances, fig. 40: 'Burial deposit F.i, with pottery and bronze objects, at Khurab.' View of quarry workings. View of quayside and Vibrocel Wall blocks.[Gelatin silver print, 202x150mm]. View of R.B. Holmes and servants standing outside tents. View of R.B. Holmes standing beside a stream. View of railway sidings and hills beyond. Precise location unknown. View of railway sidings at Cape Town? View of Randolph Holmes standing on a mountain track. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids. View of rapids and mountains. View of rapids and rocks. View of rapids on the River Sind. View of rapids with mountains in the distance. View of rapids with mountains in the distance. View of rapids with mountains in the distance. Typescript notes read: 'Taken not very far along the road from Pahlgam to Aru'. View of recently cleared jungle in a mixed coffee and rubber plantation. View of regulator in print 70, seen from the other side. View of relief carving on rock face. View of remains, several masonry courses. View of remains of 'gabarbands' or stone irrigation channels. View of remains of houses on steep hillside. View of remains of mound near the village of Manzakai, 'exploited' by local population: 'Excavations for manuring earth have reduced it to a mere core about 18 feet high and 60 yards in diameter. Its former great extent is marked by the stone-covered ground which surrounds it.' (p. 81). View of remains of wall. (Ancient Persis Map B1). View of reservoir of dammed water.[102x78mm]. View of reservoir with mountains in the distance. View of Residency and garden from the hillside, with tree fern in foreground. View of river. View of river and bridge. View of river and cave mouth.[Gelatin silver print, 82x138mm]. View of river and distant peaks. View of river and forest. View of river and garden(?). View of river and mountain scenery. View of river and road. View of river and rock-face. View of river and scattered dwellings. View of river and valley. View of river gorge. View of river passing through a forest. View of river passing through wooded hills.[Albumen print, 230x282mm]. View of river running through the forest. View of riverside buildings. View of riverside ghat and temple on the Chander Bhaga.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 288x213mm]. View of riverside houses and villagers, with a temple pagoda in the distance.[Printing-out paper, 152x100mm]. View of river steamers and local craft moored near the mouth of the Golden Horn, photographed from the Galata Bridge.[Albumen print, signed 'Abdullah Fr�res' in the negative, 255x201mm]. View of river valley. See notes with Print 2. View of river with glaciers in the distant mountains. View of river with mountains beyond. View of road along steep hillside. View of road along Tsangpo riverbank. View of road along valley. View of road and banyan trees. View of road and hills. View of road and houses. View of road and rail running through the Bolan Pass. View of road entering gorge of Tang-i-Bulaqi. (Ancient Persis Map B1). View of road following the River Ravi. View of road passing through a gorge. View of roads and fortified post. View of road up the Natu la, under snow. View of roadway, with signpost in foreground directing camels along one path, motor cars along another.[Gelatin silver print, 134x80mm]. View of road with gateway on the far right. View of rocks at roadside. Duplicate of Photo 1000 (4065). View of rocks in the hills of the Liddar Valley. View of rocky landscape.[78x103mm]. View of rocky landscape. View of rocky slopes with wooded hills in the background.[Albumen print, 254x203mm]. View of rolling hills, possibly in the Nuwara Eliya district. View of rolling hills. View of rolling hills and bungalow in middle distance. View of rope bridge over a river. The handwritten title conflicts with the caption given for this print in the Bourne & Shepherd catalogue (in square brackets). The photographer's caption is presumably more likely to be correct. View of rope-worked length of track. The name 'Weightman' appears above the print suggesting that he took the photograph. View of rough mountain track. View of rough track in valley. View of rubble from old bridge on barges, with new bridge beyond. Possibly one of the series of the photographs taken by Corporal Dukes R.E. of the construction of the new railway bridge at Rochester in 1856.[Lightly albumenised salt print, 260x194mm]. View of ruined bridge over the Pulvar stream. (Ancient Persis Map B1). View of ruined buildings, with Gandak River in the background. View of ruined buildings with mosque in the background. This print is listed in H.Hering's catalogue of Beato photographs as No.8 in the section 'India - Lucknow and Cawnpore (First Series)'. The description reads: 'Battery near the Begum Kotie - Second attack of Sir Colin Campbell in March, 1858'. View of ruined fort, with horses and Waziris in foreground. View of ruined walls of building on hillside.[Silver printing-out paper, 152x109mm]. View of ruined walls of citadel, with Mustafa standing in front to indicate scale. Archaeological Reconnaissances, fig. 49: 'Fort of Qal'a-i-Khwahar, Tump-i-Kharg.' View of ruin on distant hill. View of ruins on distant hill. View of ruins overlooking a lake. View of rural dwellings. View of sailing ships at anchor on the Hugli.[Albumen print, 167x88mm]. View of sampans, small steamboats and other craft on the river.[Albumen print, 219x214mm]. View of schooner at anchor, with castle beyond. View of scree dropping down to the Yarkhun River in the left foreground. View of seafront and fort ramparts, looking towards flagstaff, at Galle.[Albumen print.] View of section of old gabarband (irrigation embankment wall). Described, Gedrosia, p. 181. View of section of training ground, with fire carriages in front of the sheds in the foreground. Faded print.[Printing-out paper, 317x259mm]. View of section of trench, with partially excavated body in foreground. View of section of trench on side of mound, also seen in print 183. Gedrosia, fig. 29. View of section of wall, some ten feet in height and built of undressed sandstone slabs. Described in Gedrosia, p. 116. View of Seraglio Point from the Bosphorus, taken from a closer viewpoint than print 30. With Haghia Sofia in the left background, the Blue Mosquei in the right background and the lighthouse on the waterfront.[Albumen print, signed 'Abdullah Fr�res' in the negative, 254x199mm]. View of shepherd and flock among apricot trees in blossom in the Hanna Valley near Quetta.[Gelatin silver print, 298x221mm]. View of shipping. View of shipping in port. View of shipping in the harbour. View of shipping in the port at Valletta. View of shipping on the Hugli. View of shipping on the river. View of shore end of pier. View of shrines and ghats on the banks of the Chambal. View of side of bridge, with plaque in foreground reading 'Designed and constructed by Alex Atkinson Engineer to H.H. the Maharajah of Kashmir.' Precise location unidentified. View of side of the Toji site, with Allahdad standing on ruined wall about two-thirds of the way up the slope. Gedrosia, fig. 4: 'Toji Mound seen from above spring.' View of Simla, seen through the trees. View of site, with diggers at work in background. View of site, with diggers at work sifting earth in foreground. View of site, with labourers at work shifting earth. View of site. View of site at base of hill.[Gelatin silver print, 164x109mm]. View of site selected for new Agency, with figures in distance. View of sleepers in a stretch of rapids. View of small 'dambs' (mounds) or burial cairns, with western outlier of Jabal-i-Mahdi rock in background. Gedrosia, fig. 21. View of small 'dambs' (mounds) or burial cairns. View of small covered footbridge over river (?Mangde Chu). View of smaller mound, with men visible on skyline at excavation site. Archaeological Reconnaissances, fig. 43: 'Mound of Tump-i-Surkh, seen from east.' View of small footbridge across the stream, with village on far side. View of small footbridge across the stream. Duplicate at Photo 92/11 (275).[Albumen print, 240x180mm]. View of small houseboat on Wular Lake. View of snow-covered hills. Cracked negative. View of snow-covered hills. View of snow-covered hills. View of snow-covered hills. View of snow-covered hills. View of snow-covered hills. View of snow covered Himalayan peaks in the distance. View of snow-covered mountains. View of snow covered mountains. View of snow-covered mountains. Typescript notes read: '...this is the spot we camped on in Sept. 1934. Snout of glacier just visible on right (but looks just like any of the other rocks and snow)'. View of snow-covered Pass. View of snow-covered trees on Jakko. Title in Bourne and Shepherd catalogue: 'Simla in winter; view on Jakko above Combermere Bridge'. View of snows on the hills. View of snowy hills. View of snowy peaks. View of south-west corner of enclosed area, with men digging at Sec. iv (at left). Gedrosia, fig. 13. View of stables, with horse and syces in front of the stalls. View of stalls laid out in the open air.[99x73mm]. View of stand of trees on hillside, with figure standing at base. View of station buildings and rolling stock, with workers grouped in the background. Photograph probably taken to mark the first train across the bridge.[Albumen print, 293x190mm]. View of station platform, with passengers awaiting a train. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 2, p. 86. View of steamers and other vessels at anchor in Hong Kong Harbour. View of steamers on the canal. View of steam rising from the stream.[Silver printing-out paper, 120x96mm]. View of steep jungle-covered hills. View of Stein's camp, with mountains beyond. (Ancient Persis Map B1). View of Stein's camp near the Dal Lake, Srinagar. View of steps leading up to the house, with two dogs. The nameplate at the foot of the steps lists the residents as C.H. Gale, L. Gibbs and David Wood. See also print 3.[Printing-out paper, 102x152mm]. View of stone bridge. View of stone gate posts crowned by griffins. View of stone steps leading up a steep hill. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 108. View of stony ground leading to gorge: 'This is one of the favourite trails of the bands of raiding tribesmen and the scene of many a fatal ambush.'[Gelatin silver print, 103x60mm]. View of street from (?Palace) gateway. View of street in the Beyoglu District of Istanbul, with the corner of the Hotel Centrale in the left foreground. Print in poorish condition, with overall spotting.[Albumen print, 309x375mm]. View of stupa beside river. View of subsided riverbank.[Gelatin silver print, 202x125mm]. View of surrounding countryside.[Albumen print, 215x156mm]. View of surrounding countryside. View of surrounding countryside from the Raj Mahal. View of surround jungle-covered countryside.[Gelatin silver print, 55x80mm]. View of suspension footbridge across the river. View of swans in a lake. View of swans swimming in the lake.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View of Swat River and bridge from fort. View of Swat River with fort in the distance. View of tank. Duplicate at Photo 430/27 (19). View of tank and distant temples. Small faded print. View of tank near Cavalry Brigade camp, with figures filling water pots in the foreground. The camp itself is not visible, and it would appear that the captions between prints 21 and 22 have been transposed in error. View of Tbilisi looking along the Kura River. View of temple, tank and surrounding area. View of temples by the river. View of temples reflected in the water. View of tent, with figures seated in front. View of tents, with servant feeding horses.[99x75mm]. View of tents.[100x76mm]. View of tents. View of tents in garden, with part of bungalow at right. Modern print.[Gelatin silver print, 127x80mm]. View of tents on hillside, with mountains beyond.[Gelatin silver print, 284x219mm]. View of tents pitched at foot of hill. For a note on the photographer attribution, see collection introduction. View of tents pitched beneath trees. Scott's diary for 16 January 1890 records: 'Took a photo of the camp in the evg. and developed some at night' (OIOC Mss Eur F278/4 f. 9).[Albumen print, 186x238mm]. View of tents pitched by roadside, with a shepherd with his sheep in the foreground.[Printing-out paper, 111x79mm]. View of tents pitched on hillside, with hills beyond.[Gelatin silver print, 135x82mm]. View of tents pitched on open ground. See note at print 69. View of tents View of tent with servants in foreground.[102x73mm]. View of terrace and pools in the Royal Cypress Garden.[Silver printing-out paper, 136x82mm]. View of terrace cultivation. View of terrace cultivation. View of thatched houses and banana plantation, with mountains in the distance.[131x77mm]. View of thatched houses and bullock carts, probably in the Sagaing Division.[Printing-out paper, 153x108mm]. View of thatched huts in a forest clearing.[Printing-out paper, 152x108mm]. View of thatched lookout, high up in tree above the village.[Gelatin silver print, 52x77mm]. View of the (?)Kabbani River. View of the Ana Sagar Lake and pavilions along its Bund, photographed from the former Residency above the Daulat Bagh. View of the Anguri Bagh with the Khas Mahal in the background. View of the artificial lake with the Chatar Mahal and Fort in the distance. On the left is a partly submerged Hindu temple. View of the Astor river winding through the valley. View of the Back Bay seashore, with local craft beached in the foreground.[Albumen print, 232x191mm]. View of the Baku waterfront. For another copy of this print, with note, see print 43.[Gelatin silver print (modern print), 123x68mm]. View of the banyan. Cracked negative. View of the base of the trees, with a figure posed for scale: 'A pair of the largest willows in Lhasa and perhaps the largest in Central Tibet. They are very old. One has a girth of 25 ft. near the root and of 28 ft. at a distance of 8 ft. from the root after it has divided into two trunks.' View of the bathing place on the Tunga River at Tirthahalli, with figures bathing in the sacred pool: 'Near this spot, are a number of tirtha or sacred bathing places, from which the town derives its name. A pool at one of the cylindrical hollows scooped out by the water in the rocky bed is a favourite spot, frequented by Hinds for cleansing away sin by absolution. This pool is said to have been made by Parasu Rama, who is represented as the sixth avatar or incarnation of Vishnu, and as having received his axe from Siva. In the month of Margashira, every year, the Ramesvara festival is held for three days, when thousands of people bathe in this pool. At the season, on these occasions, the water in the river is so low that the bed is crossed by stepping over the boulders and whenever there happens to be a rush of water, temporary bridges are constructed for the people to pass over.'[Albumen print, 197x140mm]. View of the battleship 'Kaiser', which brought Kaiser Wilhelm II to Istanbul, moored in the Bosphorus. View of the Dolmabah�e Mosque, on the shore.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x200mm]. View of the bay from the foot of Malabar Hill. View of the beach. View of the Bhor Ghat reversing station. Very poor quality print. View of the blockhouse seen in print 152, here nearing completion. View of the bottom of the pit seen in print 8, showing pottery, beads and bone fragments.[Gelatin silver print, 143x80mm]. View of the bridge crossing the Tapi River north of Surat. View of the bridge from the bank, completed with with wooden supports still in place beneath the central span. The locomotive on the bridge is presumably subjecting the structure to load tests. Photograph enclosed in Agent's letter 506 of 22 April 1907. View of the bridge of boats. View of the bridge of boats. View of the bridge over the river. View of the bridge submerged by floodwater. View of the burning ground at Damodar Kund. View of the camel market. View of the camp at Trusum, with the village houses behind the tents. View of the camp of Stein's escort, grouped round the tower seen in previous prints. (Ancient Persis Map, B3). View of the canal with a group on the right. View of the causeway leading to the caravanserai where British troops were stationed during the SudanCampaign. View of the cave mouth. View of the Chambal River. View of the cist tomb seen in print 16, with covering slabs removed to expose interior.[Gelatin silver print, 154x108mm]. View of the cliff face of the fort. View of the clocktower with horse-drawn trams in the street below. View of the curve of an unidentified river, probably in the same vicinity as prints 37 and 39.[Albumen print, signed 'R.H. 113' in the negative, 226x180mm]. View of the customs area at the mouth of the Golden Horn, with the Hagia Sophia Mosque on the skyline in the background.[Albumen print, signed 'Abdullah Fr�res' in the negative, 258x200mm]. View of the dam and weir. View of the dam at the head of Periyar Lake. View of the Daungyu at Wuntho, with a buffalo team in the water in the foreground. View of the drive of Charles Stotherd's bungalow, probably in Jaipur. View of the entrance gate to a bungalow with servants in the foreground. View of the entrance gateway and a corner bastion of the fort at Butkhak, situated a few miles east of Kabul and occupied by British forces during the campaign. Duplicate at Photo 430/3 (76). View of the entrance to the Canal at Port Said, with a steam ship (an Indian troop transport?) and a dredger in the foreground. View of the excavated remains of the Basilica.[Albumen print, 253x200mm]. View of the facade. Possibly by Gobindram & Oodeyram. View of the ferry crossing the river, with a group awaiting its arrival on the far bank.[Gelatin silver print, 138x82mm]. View of the Forbidden City, Beijing and Shanghai. View of the foreshore and pier, with shipping at anchor in the roadstead beyond. This area can also be seen in the right hand section of print 1, although the nearer pier in this print has not yet been built in that photograph. View of the Fort. View of the frozen waterfall.[Blue-toned print.] View of the garden, with hills beyond. Glass negative, no print. View of the garden, with part of the building visible in the background. View of the garden. View of the garden. View of the garden. View of the garden and facade.. View of the gardens and fountain in the centre of the Circle. View of the gate and walls of the Bala Hissar, with British troops posed for the photographer at the entrance to the fort. View of the gatehouse at one end of the chain-bridge over the Shweli also seen in Photo 92/2 (30) and Photo 92/6 (45). View of the German battleship 'Kaiser' anchored in the Bosphorus off Istanbul. The Dolmabach�e Mosque can be seen on the waterfront in the background.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x198mm]. View of the ghat, with two men attending to a small burning pyre. View of the ghat from the opposite bank. View of the ghat from the river, with the end of the Bridge of Boats at the left and a local boat moored in the foreground: 'Here a pontoon bridge crosses the Ganges in the dry season, but not during the rains; and along it an immense amount of traffic of all kinds passes to and from the Railway Station on the other side. In front of the Ghat but, at a considerable distance from it there is a small tongue of high land, about fifty feet above the plain below, extending to the junction of the Ganges and the Barna, which, in the Mutiny, was strongly fortified, and has been styled, ever since, the 'Raj Ghat Fort.' '[Albumen print, 275x216mm]. View of the ghats at Muttra, a large house in the background. The Murray family are sitting in a boat in the foreground. View of the Godavari River at Rajahmundry. View of the gorge at the bed of the Jal River, showing 'its narrow tortuous course...between wildly cut rock walls' (p. 21). Gedrosia, fig. 3. View of the grave from the hillside above. View of the grave of Ralph Strachey (1868-1923).[Gelatin silver print, 165x114mm]. View of the grounds of the Darul Shafa, residence of Walter Nightingale. View of the halt at Shahgai, with the station, built as a fort, to the left of the line.[249x145mm]. View of the harbour. View of the hill station with some Gurkhas in the foreground. View of the hill with the lake in the foreground. View of the house seen in prints 17 and 27. View of the huts of the small hamlet. View of the imperial yacht, moored in the Bosphorus, with the Dolmabah�e Palace in the background.[Albumen print, 259x201mm]. View of the island from a ship. View of the Jhelum. View of the Kishen Ganga winding through the valley. View of the lake, a road on the right. View of the lake, ringed by mountains. View of the lake. Joins with Prints 40 & 41 to form panorama. View of the lake. Joins with Prints 40 & 42 to form panorama. View of the lake. View of the lake. Small faded print. View of the lake. View of the lake. View of the lake. View of the lake. View of the lake and Chatar Mahal. View of the lake from the Willow Bund. View of the lake looking over rooftops. View of the lakes and Dalhousie Park. View of the lake to the north of Hyderabad. View of the lake with a small village in the foreground.. View of the landing place, with the stern of an Irrawaddy steamer on the left.[99x70mm]. View of the landing place. View of the landing place at Moda.[Printing-out paper, 97x73mm]. View of the line winding through the Pass. View of the Louis Margaret Bridge at Chappar Rift. View of the lower fort, looking west from the east fort. View of the Maharaja's coach and team of six horses standing in front of the Padmanabha Temple. Duplicate at Photo 430/45 (76). View of the Maidan. View of the masonry bridge across the Tungabhadra. This is the bridge carrying the trunk road to Bombay which was completed in 1868. [Albumen print,195x120mm]. View of the massive cannon in Uparkot Fort. View of the massive cannon known as the Malik-i-Maidan (Lord of the Battle Plain), resting on two huge baulks of timber. View of the memorial in the garden, with a cross and inscription reading 'In Memoriam. On this spot stood the House of Massacre, July 15 1857.'[Albumen print, 282x233mm]. View of the Mission's tents on open land in foreground, with fort beyond. Photograph probably taken at Nankartse on 19 August[Gelatin silver print, 141x92mm]. View of the moat. View of the mountain. View of the Mula River with the Fitzgerald Bridge on the left. View of the multi-storeyed gateway into the old palace. View of the Musa (?) at high tide. View of the Musa (?) at low tide. View of the Nam Pang River in flood.[133x66mm]. View of the Nam Pang River in flood. A faded print.[130x82mm]. View of the narrow gorge of Kassim Tangi, 50 miles from Quetta on the road to Ziarat. Reproduced in Frederick Bremner's Baluchistan illustrated 1900 (Quetta, c.1900, IOL V.6553). View of the Natu La Pass. View of the New Hotel on the waterfront. View of the ornamental lake in the gardens.[Albumen print, 97x74mm]. View of the overspill form a reservoir. View of the paddlesteamer 'Brigand' moored off a river flat on the Irrawaddy, probably near Sagaing. For another view of the boat, see Photo 1085/3(8).[Albumen print, 147x102mm]. View of the palaces from the lake. View of the Palni Hills from the plains. View of the paved way running along the ridge. View of the pavilions built by Shah Jahan on the bund of the Ana Sagar. Restoration was undertaken on the direction of Curzon. View of the peak. View of the peak reflected in a foreground lake. View of the plain below Parbati Hill at Pune. View of the pontoon bridge opened in 1874. View of the pool and fountains from the pavilion of the Shalimarbagh. View of the Port Authority Office from the waterfront.[Printing-out paper, 244x299mm]. View of the port bow. Circular image. View of the port of Calcutta, with steamers at anchor. View of the quayside at Rumeli Hisari, with a paddle steamer pulling away from the landing stage.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x201mm]. View of the railway. Collotype reproduction. View of the railway at Landi Kotal.[247x145mm]. View of the railway line on a steep mountainside. View of the railway lines at Sagaing, with two men wheeling a trolley along the line in the foreground.[Printing-out paper, 94x71mm]. View of the railway station and entrance to the Khojak Tunnel. A European group is posed in the foreground, including children on a railway trolley. View of the ravine and the Waghora river near the caves. View of the regulator, with a heavy body of water entering the canal from the river.[Printing-out paper, 290x212mm]. View of the remains of gabarbands (irrigation dams), described in Gedrosia, pp. 113-114 View of the reversing station at Bhor Ghat. View of the reversing station on the Bhor Ghat. View of the Riber Ravi, looking towards a rope bridge. View of the river, bridge and buildings. View of the river (? in flood), looking towards a series of cascades. Pencilled note on the reverse of the print continues: 'The river comes down in a series of cascades and waterfalls, with many large and beautiful islands, cultivated and [word illegible]. In [word illegible] places the river, and branches of it, fall 30 feet through narrow gorges, or over a long straight ledge.'[Printing-out paper, 155x109mm]. View of the riverbank of the Brahmaputra at low tide. Various figures are posed in the middle distance , boats are moored at the water's edge and a temple is at the top of the embankment on the right. View of the river-bed under a bridge. View of the river from an elevated position on Sang Hill. View of the river in a mountain landscape. View of the river looking over a garden fence. View of the river looking through trees. View of the river passing through a narrow section of the gorge. Faded print.[79x128mm]. View of the River Tista and road running alongside. View of the road, with figures posed in foreground. View of the road above the harbour.[Printing-out paper, 99x70mm]. View of the road along the cliff-face on the eastern side of Jakko. View of the road and bazaar. View of the road leading up to the Galta temples. View of the road leading up to the palace which passes a horse statue on the left and an elephant statue on the right. View of the road through a gorge in the pass.[Signed 'Holmes 62' in the negative, 240x292mm]. View of the road through the pass, with a camel caravan in the foreground.[Silver printing-out paper, inscribed 'H1' in the negative, 183x118mm]. View of the road under thick snow. A note below the caption reads: 'Charing X close to Strawberry Bank & beginning of Mall'. View of the rocky landscape.Duplicate of Photo 1002 (47). View of the rough track along the rocky bank of the Indus, with ladders for negotiating the the sheerer sections.[Silver printing-out paper, 98x121mm]. View of the Royal Lake in Dalhousie Park, the Pagoda in the distance. View of the sanitarium. View of the Satinwood Bridge across the Mahaweli Ganga, showing the structure before the improvements of 1906 were undertaken.[Albumen print, 276x220mm]. View of the Satinwood bridge over the Mahaweli Ganja at Peradeniya. View of the Sharavati winding through jungle-covered hills. View of the shikara, a type of punt, being paddled by a crew of twelve. View of the signal station, with frost on the ground.[Albumen print, 209x270mm]. View of the site east of Lakaband. View of the small fort, with group of tribesmen posed in foreground and mountains beyond: 'On reaching Birgalai village, on the evening of october 31st, after the desecent from Shahkot, the welcome intelligence awaited me that the Nawab of Amb had unexpectedly invited us to pay a visit to his newly built fort of Dewai before entering the tract of the Salar Gaduns. I was very glad for this detour, as it would enable us to get good views of portions of Amb territory east of Mahaban, which had never been visited by Europeans...' (Report of Archaeological Survey Work in the North-West Frontier Province and Baluchistan for the Period from January 2nd, 1904, to March 31st, 1905 (Government Press, Peshawar, 1905, pp. 31-32). See also print 5. View of the south (cantonment) end of the lake. View of the south end of the lake. View of the south end of the Lake. View of the spring and surrounding buildings at Verinag. View of the start of the Suez Canal. View of the station, with rolling stock of the Pawayan Steam Tramway Company in the foreground. A faded and yellowing print.[Albumen print, 264x189mm]. View of the station. Duplicate of Photo 448/1 (50). View of the station with a North Western train in the foreground. View of the steep sides of the cirque. View of the summerhouse in the Dalai Lama's summer quarters. View of the Taj grounds. From west. View of the tank and pavilions. Poor print. View of the tarantass (a four-wheeled pony-drawn carriage) and a group of men with ponies in the desert.[Gelatin silver print, 249x145mm]. View of the temple from the top of the hill. View of the tents and huts of the Levy post at Gar, 'situated to the south of the Rakhshan river...and in the wide trough of a valley which descends from beyond the border. The small post had been established only for a few years to keep off cattle raiding parties from the Perisan side, and within the little entrenchment nothing better than reed huts and dug-outs had been provided for the shelter of the two dozen odd Brahui levies...' (Gedrosia, p. 47). View of the terminus of the Nilgiri branch of the Madras Railway. View of the thatched bridge also seen in print 57. View of the thatched houses of the town from the sawbwa's haw or palace. View of the Topkapi Palace gardens looking towards the water-edge, with an ancient column on the left.[Albumen print, signed 'Abdullah Fr�res' in the negative, 256x199mm]. View of the town, with the harbour beyond. Print damaged by damp. View of the town from a high vantage point. Probably by Sach�. View of the town from a neighbouring hillside. View of the town looking towards the sea. View of the town with shipping on the Nile. View of the track, with teak logs on trolleys in the foreground, one being shifted by an elephant. A faded print.[Printing-out paper, 131x78mm]. View of the track adjacent to a steep drop. View of the train on the restored guide bank, surrounded by labourers.[Gelatin silver print, 233x170mm]. View of the village of Kibber. Print missing from this volume: see copy at BL 1784.a.10. View of the wall enclosing the tank. View of the waterfront. Stereoscopic view. View of the waterfront. View of the waterfront at Ey�p at the northern end of the Golden Horn, with ferrymen in rowing boats in the foreground. View of a part of the Eyup Graveyard, on the hills, in the background.[Albumen print, 260x199mm]. View of the waterfront at Rumeli Hisari, with villas (yalis) overlooking the river.[Albumen print, signed 'Abdullah Fr�res' in the negative, 259x199mm]. View of the waterfront from the harbour. View of the water reservoir system in the hills behind the town. View of the waterworks 7 miles from the city. Opened in 1883 the reservoir is contained by an embankment 1680 feet long and 66 feet high. View of the winding road down from the pass. View of the works at the base of the breakwater, with piles of masonry stacked beside the railway line being shifted with gantry cranes. The breakwater was completed in 1885 and this view appears to date from an early stage in its construction. With cannons on the fort ramparts in the foreground.[Albumen print, 277x216mm]. View of three buffalo carts by the roadside, each loaded with a large length of timber. The buffaloes have been unhitched.[Printing-out paper, 97x73mm]. View of three European men sitting beneath cinchona trees. View of three Kirghiz descending the steep rock face. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 272), where the climb is described pp.273-75.[Gelatin silver print, mounted on card with typescript caption, 226x301mm]. View of Tibetan dzong or fort from neighbouring hill. View of timber for use as railway sleepers in a stretch of rapids. View of Tophane and Uskudar, looking across the European side towards Uskudar. The Tophane Mosque and the Kilic Ali Pasha Mosque on the seafront.[Albumen print, 378x310mm]. View of track leading up hillside, and country beyond. View of track leading up side of cliffs. Archaeological Reconnaissances, fig. 80: 'Cliffs at Shash-Pech, on track from coast near Tahiri to Galehdar.' View of track passing through a forest. View of tracks. View of traders with their wares in wicker baskets.[75x46mm]. View of train crossing a viaduct. View of train crossing railway bridge above a road. View of train crossing the Gokteik Viaduct on the Mandalay-Lashio Line. View of tree-covered hills. View of tree lined hills above the river. View of trees and distant hills. View of trees and mountains. View of trees at roadside. View of trees in the valley. View of trekkers. View of two boats on the beach. View of two carts on the road. View of two cists in excavated trench. View of two houseboats on the river. View of two Indians on a snowy plateau. View of two large rowing craft on the lake. View of two massive wooden obelisks (?temporary structures) at the entrance to the Suez Canal, with sailing ships moored in the foreground. View of two roads running parallel. View of unidentified snow-covered mountains. Print unsigned, but probably by Baker.[Albumen print, 197x145mm]. View of urn in excavated trench. View of valley. View of valley. View of valley. View of valley and river. Another copy of this photograph can be found at Photo 1143/1 (36). For a note on the photographer attribution, see collection introduction. View of valley floor. View of village.[Blue-toned print.] View of village looms. View of village near Darjeeling. View of village of thatched huts. View of villagers bathing and collecting water in a small tank. View of village street and houses. View of wading birds in a lake. View of wall of massive embankment on Batel Hill above Gwadar. View of wall under construction.[Gelatin silver print, 207x155mm]. View of warships at anchor in the harbour. View of water channels. View of waterfall. View of waterfalls.[Gelatin silver print, 139x81mm]. View of waterfalls. View of waterfalls. View of waterfalls on the Nam Pang. A faded print.[127x78mm]. View of waterfall where the river emerges, with timber piled at its foot.[Gelatin silver print, 81x139mm]. View of water flowing through the Mangla Regulator during the winter season.[Printing-out paper, 295x214mm]. View of waterfront, with British warships at anchor. Small snapshot. View of waterfront and Customs House. View of waterfront area and roadstead beyond.Second copy neg at B.9962. View of waterfront buildings at Izmir (Smyrna), with the Port Authority offices in the centre.[Printing-out paper, 306x252mm]. View of waterfront from the harbour. Handwritten notes on the album page identify the following landmarks: Victoria Gap, Victoria Peak, Glenely Ravine, Victoria Hotel.[Abumen print, 267x202mm]. View of watershed hills. A faded print.[133x78mm]. View of water tanks in the Indian military base camp.[Silver printing-out paper, 179x128mm]. View of weir. Duplicate at Photo 10/12 (24). View of weir. Duplicate at Photo 10/12 (25). View of women sitting on tank steps at a temple complex? View of wooded hills, with mountains beyond.[Silver printing-out paper, 154x90mm]. View of wooded hills. Poor quality snapshot.[123x72mm]. View of wooded hills. View of wooded hills. View of wooded hills around Taunggyi, visited by Scott on 6 September.[Albumen print, 174x113mm]. View of wooded hillside and mountains. View of wooded hillsides. View of wooded ridge. View of wooded summit. See note on dating at print 88. Duplicate at Photo 92/8 (43).[Albumen print, 180x117mm]. View of wooden cantilever bridge on the Karatash River, with Kirghiz women crossing. Caption note continues: 'The foremost of the two Kirghiz ladies crossing the bridge is carrying twin babies. She and her companion had been calling on my wife. After crossing the bridge they traversed the cliff-face behind by a path consisting of narrow ledges joined by poles and small logs.' Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 146), where the location is identified as Khanterek.[Gelatin silver print, 220x175mm]. View of woodland road, with cattle in foreground.[Sepia-toned print, 120x165mm]. View of woodland stream.[Printing-out paper, 143x106mm]. View of woodland stream.[Printing-out paper, 149x108mm]. View of works from opposite bank of river, showing smoke from chimneys. View of workshops and offices of the Irrawaddy Flotilla Company. View of wrecked bridge. View of wrecked sampans lying alongside the wharves after the storm. A pencilled note below the caption notes that this was a 'northern' rather than a 'typhoon' and gives details of wind velocity.[Albumen print, 142x101mm]. View of yachts on the lake. View of yard, with annotations in the negative indicating piles of cotton seed and pressed cotton.[Silver printing-out paper, 141x81mm]. View on a glacier. View on a hill road. View on a hill with a square brick tower on the left. View on a plateau, mountains in the distance. View on a woodland road at Kodaikanal. View on board a vessel. View on Dal Lake with a shikara in the foregound. View on hill road, with porter approaching camera. View on hill road. View on road, looking towards gorges. View on the Ali Boghan road, with the Kabul River at the left. Ali Boghan is situated about 7 miles south-east of Jellalabad. View on the banks of the Brahmaputra. A steamer and smaller boats are moored on the right, with several piles of goods on the embankment. View on the Bhavani River near Mettuppalaiyam in the Nilgiris. View on the Bhor Ghat Incline on the Bombay-Poona line. View on the canal, with a local shikari or canoe in the foreground. The photograph is titled 'A bit on the Canal' in the Baker and Burke catalogue.[Albumen print, signed 'W. Baker 612' in the negative, 196x143mm]. View on the Canal, with a steamer approaching round the curve. View on the canal. View on the caravanserai. View on the Caspian, with a sailing boat in the foreground.[Albumen print, 165x216mm]. View on the Chambal. View on the Dal Lake. View on the Darjeeling Hill Railway, with reversing station in the foreground (possibly the reversing station at Tindharia?). View on the Denwa River.[Gelatin silver print, 136x87mm]. View on the embankment. View on the fairway. View on the Ganges at Mirzapur, with local craft moored in the foreground. View on the garden of the Storrs-Foxes bungalow. View on the Hugli near Calcutta, with a local craft being rowed in the foreground. View on the Indus at Gidu Bunder, Hyderabad. View on the Jhelum. View on the Jhelum at Baramula, looking towards the bridge, with local boats moored in the foreground.[Silver printing-out paper, 99x73mm]. View on the Jhelum at Srinagar, with local craft moored in the foreground. View on the Jhelum at Srinagar. View on the Jhelum from near the British Residency, with a good view of a houseboat being poled by, with a European couple on the deck. View on the Jhelum looking towards a bridge, with a houseboat moored in the foreground.[Silver printing-out paper, 120x93mm]. View on the Jhelum near the Munshi Bagh.[Silver printing-out paper, 103x76mm]. View on the Kabbani River. View on the Kabul River. Duplicate at Photo 430/3 (46). View on the lake, with a girl paddling a shikar in the foreground and mountains in the distance. Duplicate at Photo 627 (125). View on the lake, with a woman paddling a small shikara in the foreground Duplicate at Photo 791 (36). View on the lake. Circular image. Print unsigned, but probably by Penn. View on the line looking towards cloud-covered hills. View on the Mall. View on the Mall looking east, with figures out walking and riding.[Silver printing-out paper, signed 'Hotz' in the negative, 152x107mm]. View on the mountain pass. View on the Narmada at Bheraghat looking towards the Marble Rocks. View on the Nermada near the Marble Rocks. Faded print. View on the pass. Probably taken on the same occasion as print 287b. View on the river . View on the river. with a sampan in the foreground. View on the river at the Second Defile south of Bhamo, with fishing boats in the foreground. Print unsigned, but probably by Felice Beato. View on the road near Dota. View on the road running beside the river. View on the road through the valley. View on the salt water navigation canal. View on the Salween, with a rocky island in mid-stream. View on the Salween in the Mong Pan district of the Shan States. The town of Mang Pan itself lies a fair distance north of the Salween. View on the Salween River, tent in foreground. View on the Salween River. View on the seashore at Bolghatty.Second copy neg at B.10032. View on the seashore at Bolghatty. View on the summit, looking towards Gunter in the background, standing over a plane table. View on the waterfront. View on the West River at Wu Chow, with the sternwheel river steamer 'Sainam' moored at the riverside. Prints 68-71 form a panoramic view of the river front at Wu Chow.[Hand-coloured albumen print, 280x203mm]. View out across the heavily-forested Nilgiri Hills. View out across the Sind Valley from Mohand Marg. View out over jungle-covered hills at Aijal (Aizawl). View outside Peshawar. View over broken, scrub-covered ridges. View over mist-covered hills. View over rocky ground. View over rooftops. View over surrounding countryside. View over the lake. Bourne no. 993. Original print at Photo 11 (103). View over the rooftops of Lahore from a minaret of Wazir Khan's Mosque. Courtyard and gateway of mosque in foreground. View over the rooftops of Moulmein, with a pagoda in the foreground. Print captioned in negative 'Ding-Woon-Quin Maulmain' (Daing-wun-kwin). The caves themselves are not visible. View over the rooftops of the town towards the rice husking mills of the Moupon district, with the Salween River beyond. View over the rooftops of the town towards the River Tigris in the distance. View over the rooftops towards the river from the Uzina Pagoda. View over the town, with shipping at anchor in the Salween River beyond. Views at Algiers, Port Said, Gibraltar, Devon, etc. Views at Srinagar, Tragbal Pass, Gurais, Burzil Valley. View showing a brick structure, presumably a supporting pier, collapsed after its foundations have been washed away by flood water.[Albumen print, inscribed 'Mile 103' in the negative, 275x209mm]. View showing activity on the river bank. View showing a line of thatched houses near the river bank, with a temple visible in the background. View showing a long line of bullock carts bringing in military supplies, moving along the road to Wuntho. View showing a train carrying labourers in open wagons, going through a newly constructed cutting, probably on the Mu Valley State Railway.[Printing-out paper, 147x107mm]. View showing a train on the line. View showing bell foundations under construction, with two steam engines in the foreground.[Albumen print, signed 'J. Lloyd 30.3.76' in the negative, 269x215mm]. View showing Captain Henry Treise Morshead R.E. taking readings with a theodolite, with an Indian orderly holding an umbrella above him and another taking notes. A plane-table and alidade stand on a tripod on the right of the group. View showing erosion of riverbank, with group standing above. View showing fissures running along beside the line, with railway rolling stock on the left.[Gelatin silver print, 205x134mm]. View showing floating jetties on the river bank, with local sampans in the foreground, a barge loaded with goods beyond and a cluster of temple pagodas in the background. View showing group standing beside open-sided thatched huts in a jungle clearing at Katha.[Printing-out paper, 98x74mm]. View showing lines running along spit of land between two stretches of water (Possibly during floods?). View showing local craft on the Indus at Gidu Bunder, Hyderabad. View showing people sitting amongst trees on a riverbank. View showing remains of dwellings near the centre of the Tikri-damb site. Gedrosia, fig. 43. View showing rickshaws passing along a street lined with shops with elaborately carved wooden balconies. Reproduced in Earl of Ronaldshay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908), vol. 1, p. 36. View showing south-west portion of Mehi-damb, with terrace II in foreground, seen before excavation. Gedrosia, fig. 57. View showing stalactites hanging from roof of cave. View showing Stein's lorry in the kap marsh of the Parom Basin. The pentagons referred to are patterns created by the salt crust of the dried-out marsh. View showing subsided rock strata along a river bank.[Gelatin silver print, 205x153mm]. View showing the cableway on the left, a camel caravan on the road below. View showing the convergence of three transport routes in the Khyber Pass. View showing the line of the Darjeeling Hill Railway passing along the main street of the village, with a locomotive in the foreground. Precise location unidentified. With prayer flags on the hill in the background.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. View showing the partially constructed line running along the hillside near the cutting seen in print 60. A faded print.[Albumen print, 115x90mm]. View showing two figures standing at the foot of the gorge. View showing wagons loaded onto a North-Western Railway ferry at Sukkur for transport across the Indus before th construction of the Lansdowne Bridge in the late 1880s.[Albumen print, 241x190mm]. View shows a bridge over a waterfall. View shows a camel caravan on the road. View shows a line of ekkas emerging from a tunnel. View shows a long straight road with white colonial buildings on the left, one of which has a sign above the doorway reading 'Justice de Paix'. As there are other views in the Hugli region in this album it's possible that this is a view of Chandannagar. View shows a pavilion on the right with steps leading down to the Hugli. People are bathing in the river with boats and shipping in the background. View shows a tank fringed by palms with a thatched hut in the background. View shows yachts on the lake. View similar to Bourne's view, but in portrait format. Inscribed on reverse of mount 'To His Honour the Lieut Governor By the Bengal Photographic Society'. Views include a well and a woman harvesting rice. Views include dams, lakes and the power house. Views include rocks and stepped wells. Views include sea views, a yacht and local fishermen. Views of: guest house and Governor's camp, the Minor Chief in shikar kit (ie a European suit), tribal group with drums.[Gelatin silver prints]. Views of reservoirs and waterways. Views of rivers and bridges. Views of sampans moored at the riverside. The letterpress caption note reads: 'Once it was ascertained that there were 84,000 boats registered as belonging to the City of Canton, but whether they all remained near the City or went to other places it was not ascertained. Only a part of the fleet of boats seen on the river are intended for transportation, and more than half of them are moored stem and stern in rows.'[Albumen print, 290x217mm]. Views of small temples, rivers, coasts and roads and studies of two men. Views of the Chitrakot Falls on the Indravati River, plus one snapshot of a baby in a pram, captioned 'Christopher at home, Bastar 1927.'[Gelatin silver prints]. Views on the Tambraparni. Views taken at sunset, looking across Back Bay. Views taken between Srinagar and Gilgit, including Gilgit suspension bridge, junction of the Gilgit and Indus Rivers, mountain scenery at Astor and Bunji, views in the Burzil Pass, dak bungalow and dak runners' hut at Chillum, dak bungalow at Gurez. Views towards cliffs and houses. View taken from beside one of the brick wells, with a diver being helped helped out of his suit by Indian staff.[Printing-out paper, blind-stamped 'Lawrie', 210x288mm]. View taken from inside the foundation pit, showing construction work in progress.[Printing-out paper, 287x215mm]. View taken from the same location as print 27, but in vertical format and showing the area in the left-hand side of the earlier photograph. Another copy at Mss Eur F157/484 (79). View taken from the same position as print 9, but showing additional girders in position on the right.[Printing-out paper, blind-stamped 'Lawrie', 291x209mm]. View taken on board the Triton, showing hopper buckets in operation. Stern view of the steamer Liebenfels of Bremen moored in background. View through the cutting. View through the trees towards a bungalow. View through trees. View through trees. View through trees. View through trees looking towards distant mountains. View through trees towards distant hills. View to landward. View towards a river valley and distant mountains in the Tien Shan. View towards bridge.[Blue-toned print.] View towards cave entrances. (Ancient Persis Map C3?). View towards cliff face, with chortens (stupas) in foreground. View towards distant peaks (faded), with thick forest in foreground. View towards eroded cliffs, with chorten (stupa) in middleground. View towards glacier and peaks of the Karakoram Range. Uncredited, but probably a photograph taken by Sella during the Duke of Abruzzi's 1909 Karakoram Expedition.[Silver printing-out paper, 242x190mm]. View towards glaciers and mountains. View towards Haramukh. View towards Haramukh peak, partly concealed by cloud. View towards Haramukh peak, with trees in foreground. View towards hills. View towards Himalayas (almost completely obscured by cloud). View towards lake from higher ground.[Albumen print, 90x118mm]. View towards mountain peaks. View towards mountains, framed by foreground trees. View towards mountains, the foothills wreathed in clouds. View towards mountains, with a house in the foreground. View towards mountains, with cloud in foreground. (?)Mount Everest in centre of print.[Gelatin silver print, 288x115mm]. View towards mountains, with cultivated field in foreground. View towards mountains, with fir trees in foreground.[Silver printing-out paper, 98x121mm]. View towards mountains, with houses in foreground almost covered with snow. Resthouse and telegraph office in foreground.[Silver printing-out paper, 98x120mm]. View towards mountains, with river in foreground. View towards mountains, with village of log houses in foreground. Folds and tears along top edge of print. Uncredited, but probably a photograph taken by Sella during the Duke of Abruzzi's 1909 Karakoram Expedition.[Silver printing-out paper, 274x214mm]. View towards mountains.[Blue-toned print.] View towards mountains.[Silver printing-out paper, 121x96mm]. View towards mountains.[Silver printing-out paper, 153x102mm]. View towards mountains. View towards mountains. View towards mountains. View towards mountains. View towards mountains. View towards mountain with mule caravan in foreground. View towards Muztagh-ata mountains from Jurgal-gumbaz (not to be confused with the archaeological site of Jangal-gumbaz, to the north at Tash-kurghan). (I.A. Map 3, C1). View towards peak, with the glacier on the left. This print forms the right-hand section of an overlapping panoramic view comprising prints 125-127. View towards river, with campsite in foreground. View towards river. View towards rock face, with horses in foreground. 'About a quarter of a mile before the first fields of Andarbes are reached, nestling in a picturesque hollow not far from the watershed, the path lies by the side of some large detached rocks which have fallen from the steep hillside. The largest of them, about 30 feet long, is known as Khazana-dabar, the 'rock of the treasure.' (p. 79). The eastern end bears some badly worn inscriptions (not visible in photograph, but see following prints). View towards rock face honeycombed with cave entrances. View towards rocky hilltops. View towards ruins. (Ancient Persis Map C2). View towards snow-covered mountain. View towards snow-covered mountains, wooded hillside in foreground. View towards snow-covered mountains.[Silver printing-out paper, 97x121mm]. View towards snow-covered peaks.[Silver printing-out paper, 120x85mm]. View towards stone embankment. View towards summit. Mount stamped: 'Copyright Mt. Everest Committee.'[Green-toned carbon print, 441x346mm]. View towards summit of stronghold. (Ancient Persis Map, B3). View towards thatched buildings on ridge.[Albumen print, 228x191mm]. View towards the mountain, largely swathed in clouds. View towards the mountains.[Gelatin silver print, 141x93mm]. View towards the mountains known as 'The Old Woman'. View towards the shore from the pier. With masulah boats beached along the waterline.Carte de visite size print. View towards the snow-capped Anti-Lebanon mountains. View towards the top of the mound, where a number of diggers are gathered. View towards town, with chorten in right foreground. View towards unidentified buildings. View towards unidentified hills. View towards village, with mountains beyond.[Silver printing-out paper, 120x98mm]. View towards wall, with a man stading at the cleared area of wall top. Gedrosia, fig. 16. View up flight of stone steps.[Gelatin silver print, 98x78 mm]. View up Liddar River, mountains in distance. View up the snow-covered pass, with pack animals gathered in foreground. View westwards along the Royal Lake and Dalhousie Park, looking towards the Shwe Dagon Pagoda in the distance. This print also appears in vol II of H.R. Spearman's The British Burma Gazetteer (2 vols, Rangoon, 1879-80), frontispiece . Photograph unsigned, but probably by J. Jackson. View with a boating party on the river. View with a thatched bungalow in the centre and and old fort in the background. A European man (Bourne?) is sitting in the foreground. View with bazaar in the foreground. View with figures round a pond. View with storm clouds. View with yachts on the water. Vignette view. Village clinging to steep hillside. Village houses and bridge. Village houses in foreground, with snow-covered hills beyond. Village houses on hillside. Village in background identified as Kya village. Village in foreground, terraced cultivation on hillside beyond. Village in foreground, with mountains and valleys beyond. Sikkim or Tibet? Village of circular thatched huts. Villagers pouring water into earthernware pots. Villagers sitting at washing place. Village scene, looking across a tank towards the thatched houses. Village scene,with African figures posed in foreground. Village scene, with traders selling produce at the roadside. Village scene, with women preparing food. Charpoy in foreground. Village scene.[Albumen print, 146x105mm]. Village scene. Village scene. Village scene. Village scene. Village scene. Village scene. Village scene in the Sind Valley between Gund and Kulan, with women in the foreground pounding (?)rice with a pestle and mortar. Village scene showing huts and tank. Village scene with men and women engaged in various tasks in front of a house and a well. Both these structures are thatched with characteristic curvilinear roofs. Village scene with pagodas in the background. Village scene with three European officers standing on the left. Village set among date palms. Villages houses, with children playing in foreground. Village street, with temple towers in background (largely concealed). Village street scene. Village street scene in the Kangra Tahsil. Viw looking up along stream bed. Voew looking down on to road. Walls of ruined dwellings in foreground. Gedrosia, fig. 48. Wall with nest, with a Tibetan woman holding a ladder beneath it. Washermen at work. Water damage to print along left-hand edge. Waterfall and pool. Waterfall and pool below. Waterfront view looking towards a local sailing craft.[Sepia-toned print, 164x120mm]. Watering ponies at a stream. Print signed 'T.W.B.' on reverse. Water level of lake almost at top of dam. Waterside scene at the Bathing Ghat, with women washing in the Ganges. Waves breaking over the breakwater during the monsoon. Weighting sacks of salt. Well driven by bullock team. The same well is also seen in print 29. The location is supplied by the Holmes catalogue. Well with bullock driven wheel drawing water. Westmacott's statue of Bentinck in the foreground, with Government House beyond. The Town Hall is out of the picture to the left Wide, flat-bottomed punt crossing the canal on a pulley. Wild rose bushes. Winding road built along the side of the ridge. Winter scene, the church tower visible in the background. Winter scene, with a mule caravan climbing the pass through the snow.[Gelatin silver print, signed 'Holmes' and captioned in the negative, 294x212mm]. Winter scene. Winter scene. Winter scene in Simla, looking through trees to the distant church. Winter scene with a car on a road. Winter scene with a horse and cart on a road. With a bungalow in the foreground. With a car approaching. With a child seated inside the muzzle of the massive cannon. With a figure crossing the bridge in a form of breeches buoy. With a figure in a rowing boat in the foreground. With a group of Indian soldiers in the foreground. With a group of monks posed in the lane for the photographer. With a junk under sail. With a locomotive drawn up at the platform. With a steamer approaching. With a steam launch moored in the foreground. With Aurangzeb's Mosque at the right. With Aurangzeb's Mosque on skyline. With baggage elephants in foreground. With baoli (step-well) in foreground. With Bell and other European (Pyne?) watching. See note at print 169. With boat in foreground. With bodies being cremated. With bridge piers visible in the background. With Buddha images and other devotional pieces inside the cave.[Albumen print]. With buffalo drinking. With buffalo team drinking in foreground. Another copy at Photo 1085/6(125). With bullock cart in foreground. With Burmese family standing on bank in foreground. With cadets posed in foreground. With camels seated in foreground. Innermost Asia, vol. 2, fig. 302: 'View down valley from about three miles above Pa-no-p'a.' (I.A. Map 28, B1). With camel train ascending the pass below the photographer. With car parked on roadway. With carved Buddha images at mouth of cave. This photograph also appears as plate 37 in F.O. Oertel, 'Notes on a Tour in Burma in March and April 1892' (Rangoon, 1893). Once full of Buddha images, by the late 1890s much had already been stolen or destroyed and in the words of G.W. Bird, 'Wanderings in Burma' (Bournemouth, 1897), p.214, 'this cave probably now contains more empty beer bottles and sardine tins than sacred images'.[Albumen print]. With Chinese group watching photographer in foreground. With Christ Church in the centre of the photograph. With diggers at work excavating site. With diggers at work in foreground. (I.A. map 28, D3). With diggers at work on ridge in background. With diggers at work on site. With diggers posed in foreground. With diggers visible on skyline. With diggers visible on skyline of mound. With distant view of Aurangzeb's Mosque. With distant view of some of the temple ruins. With donkey caravan in foreground. With earthquake damage marked on print. With European group on bank beneath bridge in foreground. Pencilled identifications as follows: Young; Hamer; Pearce; Ayres; Hayes. With European group posed at summit. With European woman seated on camel in background. Precise location unidentified, probably in Sindh (present-day Pakistan). With figure holding measuring pole in foreground. With figure in foreground drawing water. With figure posed in foreground for scale. With figures posed among the boulders in the foreground. With figures standing beside cairn in foreground. With figure standing beside wall to indicate scale. With fort and palace in the distance. With fort in background. With fort in distance. With Frederick and Irma Bailey posed on pathway. With gendarme standing in ruined tank. Ancient Persis, fig. 15: 'Cistern near domed structure of hill-fastness, Isfandiyar'. (Ancient Persis Map C3). With General's house in foreground. With glacier at right. With Great Eastern Hotel in right foreground. Bourne No.1743. With group of archaeological diggers posed on hill. With group of diggers seated at left. With group of horsemen in foreground. With high wall line to right. (Ancient Persis Map, B3). With hill road in foreground. With houseboats in the distance. With Indian group in foreground. Duplicate at Photo 2/3 (122) and Photo 447/5 (10), the latter in very poor condition. With Indian group seated at base of trees. Duplicate of Photo 1000 (4229). With Indian policeman standing at roadside. With Irma Bailey standing among baggage in front of grass hut. With launch moored at bank in foreground. With local craft moored at the quayside. With local craft on the water. With Mandalay Hill beyond. 'The Race-course is situated outside the North wall of the City and runs from the north-east corner up to the North gate. It is a stretch of turf half-a-mile in length - the original Grand Stand was formed out of a richly gilded and carved pleasure barge, belonging to the late King, but which from neglect was allowed to become partially immersed in the Moat, which runs alongside the Course, and on which it floated. It has since ceased to exist, having been sold by order of the authorities, no one having been enthusiastic enough to subscribe the money necessary to restore it. Thus an ornament and curiosity has been lost to the Race-course and the public. With Margaret Ramsden standing on farther bank. With market traders. Second copy neg at B.22819. With meeting in progress. With members of party in foreground. With men resting at left. With Mongolian woman standing in the left foreground. With mountain peak beyond. Duplicate negative, no print. With mountains in the distance. Enlarged copy at print 198. With mountains in the distance. With mountain stream in foreground. With new harbour entrance visible in distance. With note in Lady Bayley's hand: 'Where Lady C. sat on cool days.' [152x95mm]. With notes in French on back of print. Reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 258).[Gelatin silver print, 316x78mm]. With pagodas on the hillside in the background. With party of men moving along bank. With people bathing and collecting water from the Hugli. With plantation labourers grouped on the road. With porters in foreground. With portion of prison buildings in foreground. With railway line and other points marked on print. A note on the print reads: 'A to B 300 yds. It is possible to take off from B to C, or, C to B. White patches are soft & should be avoided when landing.' With remains of two brick-built towers. The orientation of the typescript caption has been corrected in pencil. Archaeological Reconnaissances, fig. 28: 'Remains of ruined keep on ridge of Qalat-i-Jamshid.' With rickshaws on the road. With road and wooden bridge in foreground. With route of climb to summit arrowed. With rows of plants in pots in the foreground. An unidentified Indian figure (probably a member of the royal family) stands with his dog near the entrance to the house. With sailing ships at anchor. With street traders and cows on the roadway. With street traders seated on the verandahs of the thatched houses. With tank in foreground. With tents in background. With terrace cultivation on the hillsides on each side of the river. With the Agra Gate in the foreground. With the Buland Darwaza prominent on the skyline. With the following notes written on reverse of print: 'Original taken by London Photographic Coy. Bareilly by Captain Amphlett's instructions when stationed there with Worcestershire Regt. in 1910. Photo negative at Stuart Brompton Rd near Harrods. United Provinces India. The tree by itself in Bareilly (officer's garden).' With the Hiran Minar or Deer Minaret in the centre of the print. With the Potala Palace in the background. See note at print 236. With the tents of picnicking parties in the background. With Tibetan man standing on frozen lake in foreground. With trees in dominating foreground. With two cadets seated beneath elm tree in foreground. With two camels on the road in the foreground. With two figures (one identified as A.D.P.) on the bank in the foreground. With two figures standing in foreground. With two Maharis with their camels standing at the left. With umbrellas over some of the stalls. With Universiy clock tower in centre of print, High Court to left and Secretariat to right. Line of apartment blocks in foreground. With water buffalo swimming in the river. Duplicate at Photo 430/38 (52). With wooded hills behind. With Yamdrok Tso (lake) in the background. Woman (probably Irma Bailey) on horseback. Woman (probably Mrs Ellis) standing on path at Coonoor. Woman on horseback on woodland road. Women and children washing and gathering water at the ghat. Women collecting water in pots. Women fetching water. Women filling waterpots at a ghat on the Pichola Lake. Women harvesting. Women posed among date palms. Stereoscopic view. Women washing clothes and gathering water on the riverbank, probably at Srinagar.[Silver printing-out paper, 99x75mm]. Wood and hill scenery. Wooded hillside at Mussoorie. Wooded hillside in foreground. Wooded river valley. Wooden cantilever bridge across the Jhelum at Muzaffarabad. Wooden ferry boat crossing the river.[Silver printing-out paper, 120x96mm]. Wooden ferry boat in mid-stream. Faded print. Wooden footbridge over rapids. Wooden log houses in a valley. Stereoscopic view. Wooden passenger ferry boat being poled across the river; palace or other large building (unidentified) in background. Wooden stockade under construction. Slightly faded print. Woodland river scene, with trees ferns, in the Nilgiris. Woodland road. Woodland scene, with a European woman seated beside the small waterfall. Woodland scene with stream.[111x154mm]. Woodland stream. Woodland stream. Woodland stream in the Nilgiri Hills, probably near Coonoor. Woodland stream with tree ferns. Wood standing in ferry with Tibetan passengers. Worker pouring water into salt pans by means of a crane at the Maripore Salt Works on the west side of Karachi Harbour. Workers at mouth of tunnel. Workers carrying tobacco loads on their heads.[Gelatin silver print, 98x78 mm]. Workers posed among piles of grain. Worshippers in shrine. Wreckage of judge's house in the foreground, with lake beyond. Yak caravan being loaded. Yak caravan being loaded up, with mountains in the background. Yak-hide boats drawn up along the bank of the Nyang Chu, presumably acting as ferries for the people gathered beside the river. Yak-hide coracle being rowed across the Tsangpo. Yak-hide coracle crossing the river, with horse swimming beside. Yaks being driven through the streets. Yaks being loaded in camp. Yaks grazing in valley in foreground, with mountains beyond. Yaks grazing on hillside. Yaks in field in foreground, monastery buildings behind. Yaks loaded with baggage moving along road. Yaks loaded with wool in foreground, with mountains beyond.[Blue-toned print.] Yaks treading out corn. Yaks with baggage crossing bridge over the Tsari Chu. Yard full of discarded cannons, cannonballs, mortars, etc, presumably waiting to be melted down at the Gun Carriage Factory at Jubbulpore. Yatung under snow. Road running beside river. Yatung under snow. Wooden houses in foreground, mountains behind. �-plate glass copy negative, no print. 'A Jewish lawyer of unknown antecedents, tireless and ruthless in the uncovering and arresting of subversive elements and Red agents. He made so many enemies that he was given a special mounted Turkmen escort and Indian sepoy bodyguard. Here he is seen driving in Askhabad with his wife and famous black briefcase in which he kept his list of suspects. During the first months of his activities , Drushkin had always dressed completely in black...but later, as the internal situation steadily deteriorated and became more dangerous, he discarded his all-black garb as being too distinctive, and he took to wearing drab-coloured garments which were more in keeping with the uniforms of his bodyguard and escort and made him a less distinctive target.'[Gelatin silver print (modern print), 131x81mm]. 'Believe it or not, this man has just bitten the head from a live Krait snake. He is Professor Sher Mohammed and his feats include drinking acid, eating glass, fire-walking. He is a legitimate performer and has spent the war touring for the entertainment of Indian troops rather than poach on sidewalk tourists.' Three-quarter length standing portrait, taken against a painted backdrop. 'From left to right: (1) Mrs Campbell, (2) His Highness Maharaja Dewas Junior, (3) Shrimant Dhairyashilrao Puar, Dhar, (4) The Hon'ble Lt Col W.F. Campbell, CIE, Resident, Indore, (5) Shrimant Maharajkumari Alaknandabai Saheba Jadhav, OBE'. 'Garrett' is standing behind the horses on the right. 'India has thousands of child brides. The unfortunate young woman shown here feeding the infant from the giant cocoanut in the foreground has been seen on Calcutta's streets day after day with the child. Her misery is more than typical of thousands of India's unfortunates.' 'Indian movie actresses. Dressed in sarees, 19-year old Binota Bose, left, and Mrs Rekha Mullick, right, are both right at home before camera and lights. Miss Bose earns $360.00 per month and Mrs Mullick $210.00. Both are well educated and prefer American books, pictures.' Three-quarter length standing portrait of the two actresses. 'In the centre of this group is Major-General Sir Samuel J. Browne, K.C.S.I., C.B., and V.C. Standing on either side of him are Colonel Williams and Major Sartorius (of Ashanti fame), V.C. and C.M.G. Beyond them again, but seated, are Majors Bradford and Henderson, both Companions of the Star of India. Major Henderson is in the Foreign Office Secretariat, though for the moment British Resident at Kashmir. Major Bradford's substantive appointment is that of Superintendent of Operations against Thuggee and Dacoity.'[Albumen print, 136x97mm]. 'In this group His Royal Highness and the Maharaja alone are seatd. Mr C. Girdlestone, C.S., the British Resident in Nepal, is standing behind the Maharaja, to whom he is accredited; while in the rear of the Prince of Wales are Prince Louis of Battenberg, General Sir D. Probyn, and Lord Suffield. Others in the party are Lord Alfred Paget, Sir S. Browne, Lord Carington, and Lord Charles Beresford. Colonel Ellis may just be descried in profile behind the Nepalese officers in attendance on the Maharaja.'[Albumen print, 136x96mm]. 'It shows my clothes, viz: Tibetan fur hat, goggles, Tibetan mask, thick waterproof and Tibetan long boots, reaching to the knees. Above clothes worn on account of icy wind. In my right hand a Tibetan stock whip with a short thong and a leather loop to wind round the 3rd and 4th fingers.' 'Left to right, back row: La-den, two tent-pitchers, Sirdar Tse-ring, head cook, Ten-dzin groom, kit-boy, the head groom; front row: under-cook, Cham-pa, Gye-lu, Pyne's servant, sweeper. 'Left to right, standing: myself (Bell), Raja Tra-ring, Rani Tra-ring, Harnett. Seated: one of the Raja's sons, unmarried daughter, known to the English community as 'Goggles'.' See also part 287 (266) for a similar group. 'Middle Row (from left of picture): H. Quraishi, ICS; ...[?]...; G. Walker, IP; R.J. Pringle, ICS; R.A.S. Stracey, ICS; A.C. Hartley, ICS (SO); Mrs Stracey; F.O.B. (ASO); S.B. Hatch-Barnwell, ICS; U. Mukharji, IP; A.K. Majumdar, IP; E.G. Creek, ICS; ?S.M. Datta? IP (Assam); J.W. Purdy, IP. Standing behind Purdy, S.N. Mitra, ICS'. 'Officers Past and Present of the Oxford Union Society - Sir A. Boscawen, MP; H.J. Mackieder, MP; Prof E.B. Poulton; A.N. Cumming; G.C. Rentoul; Hon R. Palmer; E.T. Cook; Hon H. Lygon; Rev W. Hudson-Shaw; Sir R. Mowbray; J.E. Thorpe; Rev M.S. Talbot; Rev A. Magee; Prof Oman; Rev R.F. Horton; Visct Midleton; Master of Balliol; C[urzon]; R. Bevir (Pres); Dean of Windsor; Prof A.V. Dicey; Dr Heberden; Dr H.T. Warren; Dr H.A. James; Dr W. Lock; R.S. Rait; P.S. Macdonnell; L.R. Oldershaw'. 'Right to left, Ku-sho Kyi-buk, his wife seated with four of the children, i.e. three sons and one daughter, the latter being at the bottom on the right. Behind is a maid-servant wearing the Lhasa headdress and holding the youngest son on her left shoulder. On extreme left, a girl who is a relative of the family.' 'Seated in front row, from left to right: (1) Dabiruddin Ahmed, Revenue Pishkar; (2) Kshitish Banerjee, Court Sub-Inspector; (3) K.N. Mitra (2nd officer); (4) M.H.M. Furrokh; (5) F.O.B.; (6) Hira Lal Chatterjee, Head Clerk; (7) Darijish Chandra Gupta, Accountant; (8) Suren K. Some[?], Civil (Diwani) Pishkar; (9) Prarash Talukdar, Head Clerk, Darjeeling Improvement Fund'. 'Seated in front row, left to right: (1) Bose (an Indian tea garden manager); (2) Moulvi Syed Mohammad, pleader; (3) Lakshmi Narayan Maymandar [?], Vice Chairman Local Board; (4) Karttih Chandra De (muktar[?]); (5) M.H.M. Furrokh; (6) F.O.B.; (7) Suren Bhattacharjee (Siliguri's grand old man); (8) T.P. Banarjee (Indian Tea Planter); (9) Khagur[?] Mitra (2nd officer); (10) Hanuman Prasad (Hindustani Merchant); (11) Rai Sahib Nima Lama (A contractor from Sikkim & a Buddhist)'. 'The four Trungyi Chempos came to lunch. They represent the Cabinet of the Ecclesiastical party. Each wore the usual flowing mulberry-coloured monk's robe over his yellow silk shirt; and, to show their high office, a section of very beautiful vermilion and gold brocade was let into the middle of their ample sleeves. Lunch was followed by the usual cinema performance. By special request of the Monk Commander-in-Chief we started with a film we have taken of the Tibetan army.' (Lhasa Mission Diary, 4 January 1937).[Gelatin silver print, 155x103mm]. 'The Prince cannot be mistaken in this photograph. Lord Suffield, also sitting on his left, is a familiar personage in London. To the right of His Royal Highness if Major-General the Hon. Sir Henry Ramsay, the 'King of Kumaon' as he is popularly called in North-West India...Lord Alfred Paget is sitting to the right of Sir Henry Ramsay, and Lord Carington is standing behind Lord Alfred. Next to him comes Major-General Sir Sam. Browne, then General Probyn, Lord Aylesford, Colonel Ellis, Mr Sidney Hall and Major Bradford, in order from right to left. Lord Charles Beresford will be recognised sitting on the ground just in front of the Prince, with Captain Fitz George, Captain Grant, Mr Rose, and Mr Knollys on either side.'[Albumen print, 135x97mm]. 'The robe is of green Chinese brocade. Long earring in left ear of same kind as that worn by Dewan Bahadur Palhese. Hat of black velvet. Turquoise on ring in right ear.' 'These Nomads had come down from the Chang Tang, the vast arid semi-desert away to the north of Lhasa. The journey took them fifty days. Hundreds of yaks carried wool, while each sheep was loaded with a bag of salt on each side of its back. The salt is deposited on the shores of brackish lakes by the evaporation of the water. As barley cannot grow up there they exchange their wool and salt for tsamba (roasted barley meal) and other wares.' (Lhasa Mission Diary, 7 January 1937). See also note at print 339.[Gelatin silver print, 156x103mm]. 'The wife wears the Lhasa headdress of pearl earrings of turquoise and gold, strings of seed pearls hang from left shoulder down to the necklace of coral, woollen apron of different colours.' 'This lady is Dor-je Pa-mo, 'the Thunderbolt Sow' of Sam-ding, for she has the power of transforming herself into a sow. She, the only female incarnation in Tibet, receives the one-handed blessing [from the Dalai Lama]. Even the Prime Minister's wife and the wives of Kungs receive the tassel' (Tibet past and present, p. 138). (generic types)Full-length standing studio portrait of a Chinese bride, in wedding costume. (generic types)Full-length standing studio portrait of a Chinese bridegroom, in wedding costume. (generic types)Full-length standing studio portrait of a Chinese maid, holding a large fan: 'This maid is a slave girl, bought in childhood for a trifling sum from her poor parents ... This girl has been reared in the bosom of the family, and trained to wait on the ladies of the household, to attend to the children, and to make herself generally useful. In this picture she is represented on her way to market, the slave enjoying more freedom in going abroad than does her mistress...' (generic types)Group of Burmese men, posed in front of the entrance to a house built on low piles. (generic types)Head-and-shoulders full-face portrait of a bearded Russian peasant. Caption continues: 'N.B. The Russian government have made a small attempt at colonization by placing these sectaries, outlawed by the Russian church, as well as another sect, the Duchoborians, upon the Armenian highland. They represent the best type of Russian peasant'. (generic types) [103x78mm]. [118x91mm]. [361x228mm]. [37x100mm]. [95x79mm]. [Albumen print, 107x77mm]. [Albumen print, 108x156mm]. [Albumen print, 117x92mm]. [Albumen print, 132x183mm]. [Albumen print, 145x110mm]. [Albumen print, 149x206mm]. [Albumen print, 156x100mm]. [Albumen print, 156x108mm]. [Albumen print, 205x238mm]. [Albumen print, 220x183mm]. [Albumen print, 261x219mm]. [Albumen print, 278x214mm]. [Albumen print, 278x217mm]. [Albumen print, oval image, 42x62mm]. [Gelatin silver print, 102x140mm]. [Gelatin silver print, 105x98mm]. [Gelatin silver print, 108x83mm]. [Gelatin silver print, 112x78mm]. [Gelatin silver print, 115x85mm]. [Gelatin silver print, 116x94mm]. [Gelatin silver print, 119x121mm]. [Gelatin silver print, 130x77mm]. [Gelatin silver print, 138x165mm]. [Gelatin silver print, 140x102mm]. [Gelatin silver print, 140x82mm]. [Gelatin silver print, 141x92mm]. [Gelatin silver print, 150x204mm]. [Gelatin silver print, 152x205mm]. [Gelatin silver print, 153x120mm]. [Gelatin silver print, 155x110mm]. [Gelatin silver print, 156x103mm]. [Gelatin silver print, 165x227mm]. [Gelatin silver print, 179x131mm]. [Gelatin silver print, 214x162mm]. [Gelatin silver print, 276x227mm]. [Gelatin silver print, 289x234mm]. [Gelatin silver print, 290x202mm]. [Gelatin silver print, 365x295mm]. [Gelatin silver print, 36x24mm]. [Gelatin silver print, 72x134mm]. [Gelatin silver print, 77x133mm]. [Gelatin silver print, 78x134mm]. [Gelatin silver print, 81x133mm]. [Gelatin silver print, 83 X 110 mm]. [Gelatin silver print, 83 X 110 mm]. [Gelatin silver print, 83 X 110 mm]. [Gelatin silver print, 83 X 110 mm]. [Gelatin silver prints, 150x110mm]. [Lantern slide, 72x72mm]. [Lantern slide, 76x75mm]. [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Platinum print.] [Printing-out paper, 103x77mm]. [Printing-out paper, 115x105mm]. [Printing-out paper, 147x105mm]. [Printing-out paper, 150x107mm]. [Printing-out paper, 208x281mm]. [Printing-out paper, 76x103mm]. [Sepia-toned gelatin silver print, 103x74mm]. [Sepia-toned gelatin silver print, 103x77mm] [Sepia-toned gelatin silver print, 73x104mm]. [Sepia-toned gelatin silver print, 75x100mm]. [Sepia-toned gelatin silver print, 75x100mm] [Sepia-toned gelatin silver print,75x102mm]. [Sepia-toned gelatin silver print, 75x103mm] [Sepia-toned gelatin silver print, 75x120mm] [Sepia-toned gelatin silver print, 76x102mm] [Sepia-toned gelatin silver print, 76x103mm]. [Sepia-toned gelatin silver print, 76x99mm] [Sepia-toned print, 192x129mm]. [Sepia-toned print, 308x225mm]. [Silver printing-out paper, 100x72mm]. [Silver printing-out paper, 107x78mm]. [Silver printing-out paper, 121x96mm]. [Silver printing-out paper, 203x151mm]. [Silver printing-out paper, 208x152mm]. [Silver printing-out paper, 243x189mm]. [Silver printing-out paper, 274x196mm]. [Silver printing-out paper, 280x196mm]. [Silver printing-out paper, 280x205mm]. [Silver printing-out paper, 292x215mm]. [Silver printing-out paper, 295x208mm]. [Silver printing-out paper, 41x83mm]. [Silver printing-out paper, 97x120mm]. [Silver printing-out paper, on card mount, 283x209mm]. [Silver printing-out paper stereoscopic print, 155x75mm]. 16 miscellaneous prints, the majority informal portraits of Sir Harcourt Butler taken during his period as Governor of Burma. A few relate to his time Governor of the United Provinces, with one (print 18) dated Naini Tal 18 September 1922. The portraits include snapshots of Butler playing tennis and golf, a group on horseback in front of Government House, Maymyo, one in fancy dress with his wife Lady Florence Butler and several of Butler with his spaniels.[Gelatin silver prints]. 2nd Lieutenant J.W. Hope and two other officers on horseback.[146x81mm]. Abbas on horseback in a Siberian valley. Abbot seated on horseback, with his retainers gathered behind him. Accompanying note by Forbes reads: 'This is a group taken outside my windows at Santa Cruz, you remember Dunlop who I share the house with, he is Master of the hounds & sitting in the middle, he is such a good fellow, the two boys in hunting caps are the whippers in. We are having good sport with the hounds have got 30 couple this year & hunt 3 days a week'. Forbes is sitting on the left of the group. Accompanying notes read: 'Lt Colonel L.E.L. Burne, CBE, CIE, Indian Army (died 1943). Col Burne was Deputy Commissioner and Superintendant Chin Hills from 1908 to 1937 (with several breaks). He was a most successful Administrator with enormous influence among the Chin Tribes. He was renowned for personal gallantry in 1918 (Chin Hills Rebellion). He had taken with administration[?] large areas lying between the Chin Hills Dist and Palestwa Arrakan and without the use of force. The size of the Chin Hills Dist has increased greatly under Col Burne's administration'. A copy negative accompanies the print. Accompanying notes read: 'Mr H.J. Mitchell, OBE, BFS (late). Mr Mitchell was the first and only Superintendant Naga Hills, Burma. He was the Burma authority on the Nagas, lying East of the Patkoi Range. Mr Mitchell had been the Political Officer in charge of 6 expeditions into the unadministered Naga Hills, territory which he was about to take over & administer when the Japanese invaded Burma. Mr Mitchell had done much to prevent slavery and human sacrifice among the Nagas in this area in area lying between the Patkoi and Sangparibum[?]'. A copy negative accompanies the print. A copy of this photograph reproduced in The Tatler, 20 March 1907, is pasted on the reverse of Print 62. Duplicate print at Photo 816 (73). Sitters named as follows: '[Back Row] Major Crawley; Capt Pearse; Capt Mackenzie, ADC; Major Lascelles; Major Fielding, ADC. [Middle Row] Janet [Dunlop Smith]; Col Forbes; Count de Sala; Miss Salberg; Capt Elgee, ADC; Capt Bulkeley; Capt Webber; Mrs Lawrence Drummond; Lord Bury, ADC; Aunt Minnie [sister of J.R. Dunlop Smith]; Lady Victoria Crawley. [Seated] Col Adam; Lady Eileen; Daddy [J.R. Dunlop Smith]; Lady Victoria Dawnay; HE the Viceroy; Her Excellency; The Hon Esmond Elliot; Lady Sybil Lascelles; Mr Lancelot Hare, LG of E. Bengal; Lady Violet; Col Drummond'. Acting Viceroy 1835-36. Copy of the painting by Charles Pote hanging in the Victoria Memorial, Calcutta, after the portrait by F.R. Say in the Oriental Club, London. A dark print. A dark print. A different group from print 45, but taken on the same occasion. Afghan group, probably at Quetta. A good example of pictorialiam in photography, possibly by an Indian photographer (see Print 4 by S. Mahadeo). Here, a young woman, framed by a doorway, is seen praying beside a plant in the morning light. A larger group, with more Indian figures. A later note next to the original caption reads: 'Ghee Bunya and CSI'. Full-length portraits. Tanner collaborated with Capt W.R. Houghton in recording the people of Sindh. Album containing the following portraits: Print 1 Robert first Lord Clive, KB. Print 2 Warren Hastings. Print 3 John Shore, Baron Teignmouth, FSA. Print 4 Richard, Earl of Mornington. Print 5 Lord Cornwallis, KG. Print 6 Major General Wellesley, KB, Duke of Wellington. Print 7 Earl of Minto. Print 8 Major General Stringer Lawrence. Print 9 The departure of the two sons of Tippoo Saib from their father. Print 10 The Nawab Walajah of Arat. Print 11 Fatteh Ali Shah. Album measuring 255x323mm, lacking boards, and containing 47 uncaptioned portraits and views. The majority of the photographs are of military groups and camps in England, witrh a number of portrait groups taken in India. Process = Albumen prints Album pages containing portraits of family members and friends (many autographed), views of British country houses and house parties, previous to Helen Augusta Magniac's marriage to Francis Younghusband in 1897. This material has not been individually listed, but contains the following portraits and views:PORTRAITS. Charles Magniac (father of Helen), Mrs Augusta Magniac (mother), Vesey Dawson (half-brother), Douglas Dawson (half-brother), R. Arkwright (master of fox hounds), G. Boyle, Lord Falmouth, Hon. A. Henniker, Lady Breadalbane, Duc de Lynes, Duchesse de Chartres, Princess Marguerite, Comtesse de Paris, Lord Breadalbane, Comte de Paris, Princess Helene, Prince Henri, Crown Prince of Sweden, Hon. A. Yorke, Captain Murray, Arnold Morley MP, Captain Alastair Murray, Mr and Mrs Harrison, Colonel Montgomery (Scots Guards), Duchess of Montrose, Alice Osborne, Colonel Murray of Polmaise, Lady Margaret Jenkins, Lord and Lady Houghton, Lady Feodore Sturt, Miss Graham-Montgomery, Mrs Grant, Miss Leigh, Mrs Francis Sandford, Hon. Mrs Henniker, Duchess of Hamilton, Mrs Hope, Lady Alice Stanley, Hon. Dudley Leigh, Hon. Gilbert Leigh MP, Mr Hope, Lady Yarborough, Hon. Rowland Leigh, Mr G. Wombwell, Lord William Cecil, Hon. Coralie Glyn, Miss Edith Munro Ferguson, Sir Egburt Pebright, Hon. John Ashburnham, Mrs Inigo Jones, Evelyn Paget, Lady Aberdeen, Dudley Gordon, Marjorie Gordon, Mr C. Barrington, Mr and Mrs Barnett, John R. Gladstone, Mary Gladstone, Ian Whitbread MP, Isabella Whitbread, Hon. H.S. Stanhope RN, Lord Chesterfield, Lady Susan Byng, Edward Duke of Clarence, Captain Tom Calley, Mrs Calley, Major the Hon. Lionel Byng (Horse Guards), Hon. Julian Byng (10th Hussars), Captain Alexander (10th Hussars), Hon. Mrs Richard Dawson.PLACES. Colworth House, Taymouth, Coupland Castle (Wooler), Loch Inch Castle, Haddo House (Aberdeen), Fasque House (Laurencekirk), Stoneleigh Abbey (Kenilworth), Amport St Mary's, St Andrews, Rhodes' grave in the Matopo Hills, Zimbabwe. A letterpress caption on the back of the print names the sitters as follows: Fourth Row - Captain Gage-Brown, Captain Pert, Captain Herbert, Captain Burton, Major Vaux, Lieutenant Smith (O.C. Guard). Third Row - Risaldar-Major Lakhpat Singh, Captain Lyon, Major Wilson, Major Lucas, Lt Colonel Norman Walker, Captain Seymour-Williams, Captain Gordon-Duff, Captain Waller, Captain Previt�, Mr Calvocoressi. Lt Colonel Harvey, Captain Hakewill Smith. Second Row - Captain Paget, Mr Kerr, the Nawab of Savanur, Sister Meikle, Mr Best, the Chief of Phaltan, Colonel Worgan, Sir Geoffrey de Montmorency, the Chief of Sangli, Miss Lawrence, Kumar Shri Naharsinghji of Baria, Captain Balkrishna Rao, Miss Charnaud, Captain Lunham. Front Row - Lady Worsley, the Governor of Bombay (Sir Henry Lawrence), the Lady Irwin, the Viceroy [Lord Reading], the Countess of Reading, Lord Irwin, Lady Lawrence, Lady Mary Herbert. All but one named on verso as: Osborne, Shapland, Hoare, Henry and Duthie. All named, from left: 'Nancy [Leiter, Mary Curzon's sister], Lord Lonsdale, Lady Lonsdale, Capt Adam, Viceroy, Mr Meade, MVC [Mary Curzon], Daisy [Leiter, Mary Curzon's sister]'. All named: '[Standing from left] General Gatacre, AG; Gl Adam, QMG; Major Clowes, ADC; Capt Mein, DAAG, Sind Dt; Capt Dyson, Adjt, Sind Volunteers; Capt Kelly, RE; Col Greig, AG, RA; Major Spratt, Mil Secretary; Major Reilly, AAG, Sind District. [Sitting from left] Br Gl Boyle Combe; General Sir George Greaves, Commander-in-Chief, Bombay army; Mrs D.; Prince Esterhazy'. All named: '1. Sir D. Barbour; 2. Mr Sinkinson; 3. Sir Charles Elliott; 4. Colonel Pemberton; 5. Colonel Collen; 6. Sir G. Chesney; 7. Colonel Ardagh; 8. Marquess of Lansdowne; 9. Lord W. Beresford; 10. Sir F. Roberts; 11. Mr Harvey James; 12. Mr A. MacDonnell; 13. Mr Scoble; 14. Sir Edward Buck; 15. Mr Hutchins'. All named: '1st Row: Miss Joshua, Secretary; Prof P.F. Fyson, MA, President; Mr R. Littlehailes, MAIES; Viscountess Goschen; Hon'ble Sir A.P. Patro; Prof K. Ramuni Menon, MA; Prof C.K. Krishnaswami Pillai, MA, MSc. 2nd Row: A.S. Mahabala Rai, Secretary; Capt Portal, ADC; Prof M.O. Parthasarathy Iyengar, MA; R. Stracey. 3rd Row: R. Sankaran; T.V. Rajagopalan'. All named: 'Birdwood, RE; Brandreth; Capt White, RE; R.D. Perceval; Genl [James] Browne, RE; Walton, RE; Rogers; Houghton; W.J. Weightman'. All named: 'Captain Sharpade, ADC; Captain L.T. Wilcock; Margaret; Lt General Sir George Jeffreys; HH the Maharaja of Kolhapur; Lady Cantelupe[?]; Self; Rao Saheb Sarve; Captain Collett-White, ADC'. All named: 'Chairs:- Naseem Mirza, Secretary, KU [Khyber University]; Mrs Pieres; Sardar Aurangzeb Khan, MLA, Judge; Lt Col Campbell, Advisor HE; Hadow Harris, Principal; Ali Mohd. President, KU; Mrs Campbell; Prof S.A. Muttalib, Treasurer, KU; I.D. Scott, ICS, Judge; R.B. Mehr Chand Khanna, MLA, Judge; Kh. Yusuf, V President. Standing 1st Row:- Abdul Hamid; M. Asghar; Prem Gupta; Narindar Singh; R.K. Kapoor; Rumesh Thapur (1st Prize Winner); Madan Gopal; Qasim Razvi; Nawab Khan; Akbar Shah. Standing 2nd Row:- Mohan Lal, Cabinit; Walli Ullah, Librarian; G. Jilani, Cabinit. Ground:- M. Sharif (Asstt Secy); M. Afzal'. All named: 'Left to Right - Sitting - N.C. Paul, Asst Secretary; A. Razzaque; B.P. Roy, Vice-President; F.O. Bell, ICS, Dist Magistrate, President; S.R. Mazumder; S. Roy Chowdhury, Secretary; N. Sen Roy Chowdhury. Standing - D.M.S., Orderly; P. Chatterjee; A.M. Nazemali, Asst Secy; B. Chakraborty; Balbahadur, Guard; Peon, B.F.A. [Barisal Football Association]'. All named: 'Philp, Watt, Murie, Macdonald, Petrie (Capt), Dunlop-Smith, Rutherford, Kennedy, Knott, Bremis, Morrison, Scott, Macintyre, Veitch, Davidson'. All named: 'S. De Brath, Hon'ble E. Napier, G. Whitehouse, F.L. O'Callaghan, CSI, CIE, R.J. Woods, R.D. Perceval, W.J. Weightman'. All named: 'Wood, Macdonald, Dunlop-Smith, Knott, Crawford, Bremis, Murie, Davidson, Raines, Veitch, Wallace, Watt, Petrie (Capt)'. All named: W.G. Barker, G.F. Callaghan, J. Fraser, Capt L.J. Comyn, Capt G.A. Yeldham, A.H.B. Wright, Capt G. Thompson, M.H. Wickham, W.W. Roche, C. Smyth, J.L. Garstin, J.G. Hume, Capt J.C. MacSwiney, Capt A.L. Keogh, Major J.G.M. Lenox-Conyngham(?), Lieut Col J.J.F. Hume, Major G.H. Ford-Hutchinson, Capt A.S. Hogg, Capt D.F. Lloyd, R.J. Waller, H.R.P. Dickson, T.B.G.F. James, H.W. Bell, T.F.V. Foster, F.M. Carpendale. All named. Back Row Capt P.B. Janson, Hindy, Capt J.A. Keogh, Lieut H. Hullock. Middle Row Capt P.T. Clarke, Major A.H.A. Empson, Lieut-Colonel H.M. Burrows, Major K.A. Garrett, Capt L.E. Magregor (?). Front Lieut H.E. Boulter, Lieut A.T. Scott. All named. Back Row Capt R.B. Scott, Capt H.W.D. Macdonald, Lieut F.J.M. Nixon, Capt P.B. Janson, Chris, Lieut W. Sandison, Lieut D.R. Venning. Front Row Capt S.D. Wilcock, Capt R.K. Garrow, Capt P.R.H. Skrine, Capt N.R.C. Cosby (acting Major), Capt W.H. Fitzmaurice, Capt M.H.H. Baily, Lieut T.E. Palmer (IMS). All named. Back Row Lieut D. Pettigrew, Major M.P. Atkinson (IMS), Capt M.H.H. Baily, Lieut A.J.W. McLeod, Capt H.E. Cubitt-Smith, Capt R.K. Garrow, Capt C.J. Dyer. Front Row Capt G.F.S. Keating, Capt P.R.H. Skrine, Capt R.D. Ambrose, Capt N.R.C. Cosby, Capt A.G. Scotland, Capt W.H. Fitzmaurice. All named. Back Row Lieut H.E. Boulter, Lieut H. Hullock, Lieut A.H.W. Rowlandson (4th Bn 11th Sikhs), Lieut C.J.C. Molony, Lieut A.T. Scott. Front Row Capt William Fleming (IMS), Capt R.E.F.G. North, Capt R.M.M. Lockhart, Major A.H.A. Empson, Major K.A. Garrett, Capt L.E. Macgregor (?), Capt R. Lawrenson. All named. Wilberforce-Bell is seated centre front. All named as follows: '[Standing] Capt Wigram; Ct Holden; Mrs Fenn; Ct B.Carr; Mr Lawrence; Col Sandbach; Col Fenn. [Seated] [Unidentified woman, possibly Nancy Leiter]; Irene [Curzon]; Cynthia [Curzon]; MVC [Mary Curzon]; Viceroy; Mrs Lawrence; Daisy [Leiter]. [Seated front] Lord Suffolk; Lord Fencastle; Ct Adam; Ct Marker'. All named as follows: '[Standing] Col Hon E. Baring (Mil Sec); Cap Armstrong; Cap Hon G. Portman; Col E.H. Fenn; Cap C. Wigram, ADC. [Seated] Col Pears (Resident Nepal); V[iceroy]; Col Gordon. [Seated on ground] Earl of Suffolk, ADC; Cap de Crespigny, ADC'. All named as follows: '1. Captain Pakenham; 2. Colonel Erskine; 3. Colonel Ardagh; 4. HE the Viceroy; 5. Captain Hon'ble C. Harbord; 6. Surgeon-Major E.H. Fenn; 7. Marchioness of Lansdowne; 8. Lord W. Beresford'. All named as follows: '1. Colonel Ardagh; 2. Captain Hon'ble C. Harbord; 3. Marchioness of Lansdowne; 4. Captain Creagh; 5. Surgeon-Major Fenn; 6. HE the Viceroy; 7. Captain Pakenham; 8. Lord William Beresford'. All named in Print 16, except the man sitting on the extreme left. All named on an accompanying letterpress list: 'Back Row standing: Lieut-Commander Elliot, Captain Carr, Lieut Gordon, Captain Still, Captain Smith-Bingham, Major Scott, Captain Johnston, Captain Morrison, Captain Crichton. Second Row standing: Hony Lieut Risaldar Natha Singh, Sir Hugh Cocke, Major Ross-Stewart, Mrs Scott, Mr Illingworth, Mrs Cunningham, Captain Freeman-Thomas, Lady Cocke, Jemadar Mahomed Hussain. Sitting: Lt-Colonel Muir, Mrs Gould, HE the Governor, HE the Viceroy, Lady Sykes, Mr Gould'. All named on reverse: 'Left to Right. Back - Rev Bennett, Col Sastri, IMS, K.H.S. Bankes, E.H. Colebrook, DSP, Rev Principal Young, Judge Mack, Forester Ardagh, Hon Sec Simon, Munsiff Thompson, K. Palmer-Jones, Ricketts. Front - Mrs Sastri, Miss Colebrook, Beautiful Mrs Thompson, Mrs Principal Young, Mrs Collector Warren, Mrs Judge Mack, Hesse P.J., Mrs Palmer-Jones Sen, Mrs Emma Ricketts, Mrs Rev Bennett, Bennett Young'. All named on reverse: 'Mr Lushington, Mr G. Taylor, Sir C. Trevelyan, Col Norman, Lord Strathnairn, Sir Henry Durand, Sir J. Lawrence, Lord Napier, Mr Maine, Mr E. Baylay, Mr Grey, Col Strachey'. The original caption wrongly describes this as the 'Durand Commission - Demarkation of Frontier between Afghanistan and India'. Duplicate at Photo 25 (33). All named on reverse as follows: '[From right] Col Strachey, Hon'ble W. Grey, Mr Bayley, Hon'ble H.S. Maine, Sir Robt Napier, Sir Jn Lawrence, Col Durand, Sir Hugh Rose, Col Norman, Sir Chas Trevelyan, Mr Lushington, the Hon'ble N. Taylor'. All named on verso: 'Standing at Back L to R. Lionel [Jacob], Mr Masson, Clarke, Mortimer, Glen, Hawkings, Ure. Middle Row L to R. Mrs Farr, Farr, Gaynor, McPherson, Hatherell, Cook, Pryde, White, Jackson, Gill, Hallam, Millar, Shore, Kirkly, Thompson, Care[?], David Henderson, Champion, Hall, Hughes, Knight, Jack Henderson, Branson, Mackie, Collon[?] (not the Resident but a planter), Dunn, Palgreen (Club Secretary). Ladies L to R. Mrs Branson, Miss Hewitt, Mrs Gill, Hawkings, Jackson, Hallam, Kirkly, Miss Prosser, Mrs Moore, Chalfield, Self [Hilda Jacob], Mrs J.L. Hall, Mrs Henderson, [?], Mrs Pryde, Mrs McPherson, Henderson Junr, Millar, Hughes, Hall, Margaret, Charles, Kirkly'. All named on verso. All standing. Durand is fourth from left, identified below by 'HMD'. All the sitters are in riding dress. Print is tightly rolled. All the sitters are named as follows: '[Standing] Mr Cunningham, Col Durand, Dr Franklin, Capt Lane, Capt Morris, Capt MacMahon, Capt Grimston ADC. [Seated] Lord Fincastle, Mrs Plowden, the Viceroy [Lord Elgin], Mr Plowden [the Resident], Lady Elizabeth Bruce'. All the sitters are unidentified. All unidentified. Probably an official with his staff. All unidentified. All unidentified. All unidentified. Almost identical to print 69. Almost identical to print 77a, but with hands together on cushion. Almost identical to print 78a, but a very slightly different pose. Although there is no photographer's identification on the print a newspaper cutting mentions that, 'A considerable number of guests had been invited to meet their Excellencies, and Messrs. Bourne and Shepherd took several photographic groups'. Duplicate at Photo 556/3 (54). Hugh Shakespear Barnes (acting Foreign Secretary) is seated on the right in the front row. Although there is no photographer's identification on the print the adjacent newspaper cutting mentions that, 'A considerable number of guests had been invited to meet their Excellencies, and Messrs. Bourne and Shepherd took several photographic groups'. Several of the sitters are named as follows: '[Standing] Pollen, Morley, Babington Smith, Mr Barnes, Col Durand, Col Melliss, Mr Latimer, Herr Waldhausen, Mr Cole, Adam, Capt Daly. [Seated] Lady E. Bruce, Maj Jennings, R. Bruce, Lady Elgin, H.E. [Lord Elgin], Mrs Jennings, Lord Bruce, Mr Cuningham'. Although unattributed this is probably Bourne & Shepherd No 3542. Amateur snapshots of family and friends. A modern annotation identifies Sir Hector Dennys in the middle row. A more distant view of tent and figures than print 255. amsden and his wife Mary standing at the edge of the pool. An account of the killing of this wild boar (with a similar photograph) appears in Hardinge's book On hill and plain (1933). An account of this shoot and the taking of the photographs is given on pp50-53 in Hardinge's On hill and plain (1933): '..I suggested to the Maharaja that it might be as well to be thinking of returning to Gwalior, but he said it was impossible to do so then as he had ordered a photographer to come out from Gwalior by means of soldiers signalling from the hills with heliostats, and that it was absolutely necessary to await his arrival, since, unless the scene with the eight dead tigers was photographed, nobody would believe that the fact was true! Consequently we waited some hours for his arrival and after the photographs had been taken we returned home.' An almost identical group to print 133a, taken within a few moments of that photograph.[Silver printing-out paper, 191x130mm]. An almost identical group to print 24.[Gelatin silver print, 286x231mm]. An almost identical photograph at Print 78 is dated 1909. An annotation at the side of the print reads: 'Flossie Wilkins & the [?]on Queen'. Wilkin, F.C. Isemonger and Cocks are identified. An annotation on the print reads: 'of course the .... figure is E.C.B.'. An inscription on the negative reads: 'Sub-Officer Elliott's term, June 1859'. A different photograph taken at the same sitting is at Photo 42 (81) where the sitters are named as: 'W. [for J.] Waterhouse, R. Riddell, G. Hancock, E. Marryat, C. Baldwin, J. Pollock, T. Walker, A. Elliott, M. Macartney, J. Morant, J. Lee, H. Mackenzie, F. Spragge, W. Heaviside, A. Edgcome, R. Bazett'. An inscription on the negative reads: 'Sub officers Strahan's [and] Pierson's term'. A duplicate of this print is at Photo 42 (80) where the sitters are named as: 'C. Sim, B. Goldie, F. Major, W. Warren, S. Jacob, G. Strahan, J. Taylor, A. Helme, W. Pierson, H. Doveton, F. Meiklejohn, C. Straker, H. Hawkins, J. Colquohoun, W. Forbes, F. Collis'. Annotation on verso reads: 'Another meeting with James Dunnett and local dignateries, where and when I don't know. The occasion is probably a visit of inspection by James' superior officer, his Commissioner, who is seated on his left'. Annotation on verso reads: 'Picture of James Dunnett as a territorial officer in the First War. James front row second from R with black spot on his chin'. Annotation reads: 'Baker (photographer) was an established Peshawar firm that has now gone (apparantly to Australia) and fairly recently. The informant (1961) is Mr Randolph Holmes c/o Western Bank, Williton, Somerset. This appears to be the 4th Punjab Cavalry which was disbanded in 1881 (and was the cause of the gap in the Cav 'Line' of 1903, in case of re-raising, there was no 24th)'. Annotations on the mount suggest that this is the 2nd Punjab Infantry, but the duplicate print at Photo 647 (19) has a letterpress caption identifying it as a Sikh regiment. An original version of this copy print is at Photo 49/2 (15). Sitters named as follows: 'J.M. MacPherson, Esq, CSI, Secretary; The Hon'ble Mr J.O. Miller, CSI; HE Genl Viscount Kitchener of Khartoum, GCB, OM, GCMG, GCIE, Commander-in-Chief in India; The Hon'ble Major-Genl C.H. Scott, CB, RA; The Hon'ble Mr W.L. Harvey, CIE; The Hon'ble Dr Rash Behari Ghose, CIE, DL; The Hon'ble Mr H. Erle Richards, KC; HH. the Lieut-Govr of the Punjab, Sir L.W. Dane, KCIE, CSI; HE The Right Hon'ble Sir Gilbert John Elliott, Earl of Minto, PC, GCMG, GMSI, GMIE, Viceroy and Govr-Genl of India, President of the Council; The Hon'ble Munshi Madho Lal; The Hon'ble Sir Harvey Adamson, Kt, CSI, ICS; The Hon'ble Mr J.S. Meston, CSI'. A note below the print reads: 'Height of Lieut Macmahon 5'8""', which underlines the fact that the men from Dera Bugti are all significantly taller than him. Newspaper portraits of McMahon are pasted on either side of the print. A note below the print reads: 'Named in 'History''. This refers to the 'History of the 2nd Panjab Cavalry 1849 to 1886' (London, 1888). In the copy there reproduced (and dated 1859), the sitters are identified as (left to right) Jemadar Ali Ahmad, Risaldar Shahzada Wali Ahmad, Jemadar Jowahir Singh (now Risaldar Major). A note below the print reads: 'Named in 'History''. This refers to the ' History of the Second Panjab Cavalry 1849 to 1886' (London, 1888). The reproduced version (dated 1859) identifies the aitters as (left to right) Risaldar Lahrasaf Khan (late Risaldar Major), Risladar Badhawa Singh (late Risaldar Major) and Jamadar Karim Beg. A note by A.G. McCrae on the verso reads: 'Marriage at Dalla circa 1910 of a Dockyard Foreman. The date I can guess as two in the photo were well known to me, viz, 3rd from left back row, Thomas Cormack, who joined the I.F.Co as Management Assistant in 1909 and was General Manager from 1932-1937 (I joined the company in 1933). The bearded gentleman in the middle was Robert Barr then Engineer Supdt of the fleet and in the 1920s was consultant at Glasgow office when I knew him well. The ladies' hats are worth study'. Another copy at Photo 430/33 (26).Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Mounted and stored separately in Box 676, Shelf 92C. Another good example of pictorialiam in photography, possibly by an Indian photographer (see Print 4 by S. Mahadeo). Here, a young woman, is looking out of a window to the street below. Another group, with sitters identified as follows: Clova Macnabb; Mrs Rivett-Carnac; Captain Rivett-Carnac, holding Eric; Appa Sahib of Sangli; Rawdon Macnabb. Another print from the same sitting as Print 5. Another print of this sitting is at Print 23. Sitters named on reverse of print and on an accompanying typed list. 'L to R [Back] Lt Plowden, Lt Col L.L. Porter, Capt Portal, Lt Sir Chas Buchanan, Capt Goschen, Lt Lord Hugh Sefton [Hugh William Osbert Molyneux, 7th Earl of Sefton]. [Middle] Maj Jackson, Mrs Smith, ADC to Adm[iral], Conran Smith, Maj Hobbs, ADC to Adm[iral], Mrs Hobbs [or Jackson?], Maj Johnstone. [Front] Mrs Johnstone, Mrs Portal [Cicely Goschen], Gen Ponsonby (Sir John), Lady Fremantle, HE & Her Ex, Adm[iral] Fremantle (Sir Sydney), Mrs Balfour (2 children) & Sheila Durlacher'. Another version of Print 25. Another view of guests at the party seen in print 17. Sir Samuel Stewart is seated at the right between two Indian ladies. Anthony (surname unknown) seated on yak, with a servant or guide standing beside him. Army officer (unidentified) standing in front of his house in riding clothes. The house is a small stone bungalow, with a pitched roof from which long icicles hang. A similar portrait is at Photo 448/2 (240). Named as follows: 'Amer Singh, Chiman, Hari, C.E.S., Mahtab, Irwin, Bhoorji, Pank, Devi, Mukhan, Partab, Jowalin, Sheonath, Kalyan, Rupji, Traill, Miss Traill, Mrs Jacob, Col Jacob, [a dog called] ""Tim"", Miss Gauri [?], Mrs Pank, Macalister, Atchraol'. A similar view, evidently taken on the same occasion as print 79. A smaller group of servants, the front row composed of coachmen. A third man is unidentified. A tiger skin is draped over a chair in the foreground. Augustus Fitzgeorge, ADC to the Prince of Wales, posed beside an elephant.[Albumen print, 97x136mm]. A very blurred full-length portrait, the features indistinct. A very blurred photograph of Mrs Skrine (and Stein?) mounted on a camel. A very faded print. Group portrait of five figures seated round a small table, with papers and books arranged around them. The sitters are identified on the reverse as follows: D. Macleod [Donald Friell McLeod, Judicial Commissioner of the Punjab], H.B. Edwardes [Herbert Benjamin Edwardes, Commissioner of Peshawar], J. Lawrence [John Laird Mair Lawrence, Chief Commissioner of the Punjab], R. Montgomery [Robert Montgomery, Judicial Commissioner, Punjab], Col. Macpherson [James Duncan MacPherson, Military Secretary to the Punjab Government]. A copy of this print in private hands is identified as being taken at Lahore in 1857.[Salt print, lightly albumenised.] A very faded print showing a group posed in front of the verandah of Egerton Hall. Further notes identify the sitters as follows: Mrs R. Young, Clara [Younghusband], Mrs Atherton, Mrs J. Young, Marianne, Atherton's maid. Standing: Major J. Young, Capt. Plumer, Mrs C. Hutchinson, John [Younghusband], 'the children are the Youngs''.[Albumen print, 131x91mm]. A young girl and boy (aged about 5 and 7) are seated on ponies with a syce standing between them. The children can also be seen on the verandah of MacNabb's bungalow in print 160. Another copy of this photograph at Photo 1143/1 (55), where the children are identified as Dighton Pollock and M. Pollock, presumably the children of Major-General Sir Frederick Richard Pollock (1827-1899), Commissioner of Peshawar. An additional copy of this print can also be found at Photo 50/1 (64). A youth (son of Lewin Bentham Bowring?) dressed up in a maid's uniform and holding a dog.[Silver printing-out paper, 77x100mm]. Badu La and Kamba Jongpen inspecting a telescope standing on a tripod in the camp at Khamba Dzong. Bailey, dressed in poshteen, standing in same position as in print 81. Bailey, his wife Irma and other Europeans posed in front of the verandah of an unidentified house. Other figures are identified as Perris, Proud, Perry, Holland. Bailey's domestic staff posed in agroup in afront of an unidentifed buillding. Second copy at print 86.[Albumen print, 214x155mm]. Bailey's wife seated on the deck of the Dongola. Small snapshot. Bailey and a seond unidentified European seated beneath the upturned boat. Bailey and other Europeans seated round table in the open air. Bailey and others seated on horseback. Bailey and Pishi Depon seated side by side in Bailey's house at Chumbi. Bailey is third from right. Bailey partly out of picture at left. Bailey seated in the compound of the Agency house with three tame burhel. Bailey seated with his three tame burhel in the compound of the Gyantse Agency. Prints 27-28 appear to have been taken on the same occasion as Mss Eur F157/463 (169-170). Faded print. Bailey seated with Popon Ma shih Chou and Sunling Chou ping Yuan. Bailey seated with servants gathered round him. They wear circular tasselled hats and are named as follows: Lodre, Nurgye, Renzog, Yishi and Kwesang. A professional quality portrait. Bailey standing on ice, holding rifle and with his dog beside him. Bailey with his monkey and dog, standing beside an open-sided summerhouse. Baker at work pounding dough on a stone. Band of the Maharaja of Kashmir. Basil Gould and the Prime Minister seated at a small table, raising their glasses in a toast. 'The Prime Minister came to lunch with us. He showed considerable interest in the wireless and a message was transmitted, on his behalf, to the Chief of Signals, Jubbulpore.' (Lhasa Mission Diary, 29 September 1936).[Gelatin silver print, 155x103mm]. Battalion on parade, with military band to the fore. Print in poor condition, with overall spotting.[Albumen print, 382x309mm]. Battalion on parade, with military band to the fore. Print in poorish condition, with overall spotting.[Albumen print, 381x306mm]. Battalion on parade. Print in poor condition, with overall spotting.[Albumen print, 378x309mm]. Battalion on parade. Print in poorish condition, with overall spotting.[Albumen print, 380x306mm]. Battalion on parade in front of barracks, with military band at the fore. See also print 1.[Albumen print, 372x304mm]. Beam view of the paddle steamers, under construction, at the Imperial Shipyard. Photograph taken from the shore with other ships in view (print with overall spotting).[Albumen print, 251x320mm]. Bearded figure standing beneath a cactus tree, with a servant standing behind him holding an umbrella to shade him from the sun. This may well be a portrait of the compiler of the album, and appears to be the same figure who also appears in prints 23 and 56. Because of the high contrast of the print the white clothes of the man in the foreground have merged with the whitewashed walls leaving only his exposed limbs visible. He has therefore been labelled 'Bhoorji's Ghost' (Thakur Bhorji of Chowkri), the man behind is 'Rupji' (Thakur Rupsingh of Naila), the dog 'Nigger'. Beggar squatting by side of road. Bell's head slightly unsharp due to movement. For a better print, see the almost identical print 112, clearly taken on the same occasion. Bell seated, with servants standing behind. Bell seated on horseback with Neto Dzongpon standing beside him in the outskirts of Lhasa. Bell's house was in this park. Neto Dzongpon was the Tibetan officer who escorted Bell from Gyangze to Lhasa and was attached to the mission. See also print 282. Bernard seated with three of his staff standing behind him. ' The figures on the right and left are Mr Thirkell White [Sir Herbert Thirkell White], his Secretary, and Mr Daly [Sir Hugh Daly], the Inspector General of Police; the centre figure at the back being the son [James H. Bernard, ICS] and Private Secretary of the Chief Commissioner.' Better print at Photo 639/3 (65). All named: '[Standing from left] Col Greig, AG, RA; Col Cavaye, Mil Secretary; Col C. Cunningham, DAG; Lt Ferguson, Rifle Brigade, ADC; Capt Mein, DAAG, Sind Dt; Major Reilly, AAG, Sind District. [Sitting from left] Col Jopp, QMG; HRH the Duke of Connaught, Commander in Chief; Br General Boyce Combe, Comd Sind District'. Better print at Photo 639/3 (65). Better quality print at Photo 355/3 (17). Sitters named as follows, left to right: '[Standing] T. Higham Esq, PWD; Capt Lambert, ADC; J. Cotton Esq, PWD; Col McQueen, CB, Mil Secretary; Dr Bate. [Sitting] Mrs Home; H.C. Fanshawe, CS; Sir Chas. Aitchison; B.C.A. [Beatrice Clementina Aitchison] and [her dog] 'Andy'; J. Green Esq. [Sitting on ground] W. Merk Esq, CS, under secretary; Col Home, CIE, For secretary; J.R.D.S. [Dunlop Smith]'. Another copy at Photo 355/1 (232). Better quality print at Photo 355/3 (24). The daughters of Sir Charles Aitchison with J.R. Dunlop Smith and Captain W. Dennys. From left: 'Gertie, J.R.D.S., Tina, Marion, Capt Dennys'. Better quality print at Photo 355/3 (26). Group portrait including the Lieutenant-Governor of the Punjab, Sir Charles Aitchison, his staff and families. Sitters named, left to right: 'Sirdar Indar Singh; R.E. Younghusband, CS; Mr Daly; Mr Rivaz; Baron de la Grange; Mrs Rivaz; Col Menzies; C.R. Brown; Lady Aitchison; H.R. James; Marion; Dr Roe; J.R.D.S. [Dunlop Smith]; Gertie; [Unnamed man]; HH The Lt Governor; Col McQueen; T. Leigh; Gen Kennedy; Mrs Lawrence; Col Simmond; Mrs Lake; C.L. Tupper, CS; Miss Simmond; E.E. Oliver; W.R. Lawrence, CS; Tina; Capt Dennys; Col Bradford; E.W. Lake; Prince de Lucinge Fonsi[?]ny; Jemadar Hirsa Singh'. Better quality print at Photo 355/3 (30).Group portrait including the Lieutenant-Governor of the Punjab, Sir Charles Aitchison, and Indian rulers. The following sitters are named, from left: 'A. Meredith, CS; Tikka Sahib of Faridkot [Balbir Singh]; J.R.D.S. [Dunlop Smith]; R. Udney, CS; The Raja of Faridkot; The Raja of Nabha, GCSI; The Maharajah of Patiala; Sir Deva Singh, KCSI; Dr Roe; HH the Lt Governor; Capt Dennys; Sirdar Yaggat Singh; Raja of Jhind, GCSI; Kanwar Harnam Singh; Raja of Kaparthulla; Raja of Chamba; C. Rivaz, CS; C.L. Tupper, CS; Major Hon G. Napier; Col C. Marshall'. Better quality prints at Photo 355/3 (21) and Photo 94/2 (25). The group, posed beside the building's porte-cochere, are named from left: 'Marion; J.R.D.S. [Dunlop Smith]; Tina; Sir Charles; Col MacQueen, CB; Lady Aitchison; Gertie [and] Capt Dennys'. Blurred print. Blurred snapshot portrait. Boating group posed by the Cam. Photograph dated 11 June 1887 in the negative.[Albumen print, 273x182mm]. Both men sitting on a blanket, two Gurkhas in the background. Boy seated in a wicker basket strapped to the back of a hill porter. Boy seated with baskets of saffron. Brahman(?) at prayer. Brahman (?) undertaking ablutions in the Ganges. Bride and groom with three other figures (two men and a woman). The woman is identified as Grace M. Carter.[Silver printing-out paper, 287x216mm]. British army Queen's regiment. Exact identity of regiement and location unknown. Butler family group, standing on railway platform, garlanded with flowers.[Gelatin silver print, 138x90mm]. C.E. Stotherd standing in front of a camera. Cabinet card portrait by their father. Cabinet card portrait by W. Hargrave of Paddington, London. Cabinet photograph, with letterpress inscription 'With the compliments of the season', with pencilled message on the reverse in a child's hand (Bunting Dane's), reading 'To mother and father from Bunting.' Duplicate at print 332. Cabinet photograph of a portrait bust of Sir Robert Montgomery (1809-1887), Lieutenant-Governor of the Punjab 1859-65 and Member of the Council of India 1868-87. On the back of the mount is pasted the address label of the 'Sir Robert Montgomery Memorial Committee'. [Albumen print, 102x157mm]. Cabinet portrait, duplicate of Mss Eur F.157/448 (17).[Albumen print, 152x93mm]. Cabinet portrait, duplicate of Mss Eur F.157/448 (18).[Albumen print, 98x150mm]. Cabinet portrait, duplicate of print 1.[Albumen print, oval image, 84x116mm]. Cabinet portrait group of the five girls who acted as bridesmaids at the wedding of George Udney Yule. The sitters are identified as Emily Landale (later Mrs Wood), Laura Whiteside, Miss Dacosta (later Mrs Drummond), Rosie Yule and Maymee Yule.[Albumen print, 102x141mm]. Cabinet portrait of Colonel Frederick and Mrs Florence Bailey. Florence Bailey is seated on horseback, with her husband standing beside her on the path. With trees and buildings in background. Cabinet portrait of Herbert Eugerson Church (1830-1886), Madras Volunteer Guards and Assistant Traffic Manager and Traffic Manager in the Madras Railway Company 1855-86. Print in poor condition, faded and with crease in left corner.[Albumen print, 110x140mm]. Cabinet portrait of members of six members of the Cambridge Mission in Delhi. Only Lefroy and a figure named 'Allnutt' are identified.[Albumen print, 150x112mm]. Cabinet portrait of the two children. Duplicate at print 68. Camal gun carriages of the Maharaja of Alwar.[Albumen print, oval image, 120x95mm]. Captain Donald Campbell Vanrennen is sitting on the left of the group and Lieutenant Adrian Denys Vanrennen on the right, the others are unidentified. The presence of the Vanrennens suggests that this is a group of staff of the North West Revenue Survey at Landour and not the Trigonometrical Survey. Captain F.G. Poole, East Yorkshire Regiment, being carried across the Lohit river at Saikwa by a group of porters. No newspaper correspondents were permitted to join the expedition and a military officer accompanied the force in this capacity, on the understanding that all despatches would be made available on an equal basis to all newspapers. Bailey in his No Passport to Tibet (1957), footnote p. 29, notes that the appointment was not successful, since Poole's discretion was so great that he came to be known as 'The Stagnant Poole'. This failure was also acknowledged in the Official Account of the Abor Expedition 1911-1912 (Simla, 1913), Appendix IV: 'It would have been more satisfactory, both for the public and for everybody else concerned, if a regular correspondent instead of an amateur had been allowed with the expedition.' Captain Francis Loder Bleddy (6th Dragoon Guards) posed with his pony. Captains Cubitt-Smith and Pettigrew with South Waziristan Scouts? Caption below the print reads: 'Baldwe-e-e-en'. Caption continues, 'He is seen talking to the Heir-apparant Mir Ali Nawaz Khan who is now touring on the Continent with Captain Reilly, whose services have been lent to the Khairpur Durbar for 12 months'. Mir Aladad Khan is sitting second from the left, Sadik Ali Sher Ali, the Wazir, is sitting on the right. Caption continues: '... in his dress of honour given to him after being selected to be one of the three Indian officers to be in special attendance on His Majesty the King Emperor George V, on His Coronation at Delhi, December 1911'. Caption continues: 'He looks so melancholy here he might have forseen his unhappy fate'. Full-length seated portrait, with retainers, in front of a tent.He was sentenced to twenty years' imprisonment and died at Ywathit in August 1897. Caption continues: 'I am in the centre in the dress of a Spanish lady from the picture in the possession of Huntly Gordon, who was also a 'Spaniard' same period. He & I danced the 'minuet de la Court' together. My dress was pale blue & gold brocade with fronts of puffed white satin, gold lace & pearls, standup collar of poings d'Angleterre - stolen. My golden hair had a gold & pearl net & frizzed in front.' Huntley Prys Gordon (Madras Civil Service from 1862) is identified as the figure standing at left. Caption continues: 'I wonder whether Hawkins will recognise his flower vase which I placed in the picture on purpose for him to see it'. See note at print 7. Caption continues: 'Presented with deep sentiments and affection for the British nation to the India Office Library... by Someshwar Datt...'. Copy print of poor quality. All named: 'From Left to Right. (1) Mrs Datt (2) Mrs Madan Lal (3) Vidya Wati (4) Mrs T. Datt (5) Mrs Kasturba Gandhi (6) Mataji (7) Miss Slade (Meera Behn) (8) Mrs Johri (9) Mrs R. Singh'. Caption continues: 'The old villian! He did nothing but protest to me that he was the most faithful ally the British were ever likely to have'. Caption continues: 'The people are mostly Palaungs or Rumai, but there are also quite a number of Kachins. The old man shown here is dead and one of the boys in front is now Sawbwa and has two sons being educated in England'. Group probably photographed at Namhsan, capital of the sawbwaship of Tawnpeng in the northern Shan State, north of Hsipaw. Caption continues: 'The silver hilted dha bound with cord is very prominent. The man is evidently proud of it'. The official is on horseback, with his bodyguard ranged on either side of him. This is probably the Chinese official Chen, photographed during the Burma-China Boundary Commission: the same figure is seen in print 14, a similar composition taken on the same occasion. Caption continues: 'This is on the bank of the Adyar River upon which Brodies Castle, the Chief Justice's ""Bungalow"", is built'. Caption continues: 'When younger the chief had the misfortune to shoot one of his subjects. He got off on the plea that he was aimining at a fowl'. Group portrait of the chief of Mong Kung seated in front of his house with members of his family. Retainers hold umbrellas over the group, which is photographed against a textile backdrop. Caption has been amended to '...with Wala Sri Bhan Desa of Barwala. Caption illegible. European couple and child, with servants ranged around. Caption on reverse by H.J. Vickers (NWFP Police): 'Not Charlie Chaplin but Handy, 'sans peur et sans reproache', his epitaph in Peshawar COE Cemetery. H was very kind to me and used to take me out in his car and then on 'over the hills and far away'. He never said a bad word about anyone and all animals and children loved him. A non-smoker but liked a [blank] in the evening. I helped to carry him to his grave'. Caption on verso. Caption reads: 'A reference to the Introduction will give the reader some idea of the elaborate preparations made to ensure the success of the operations. The central figure in the group is Mr Muttanna, the Chief of the Mysore Forest Department, who was responsible for the successful capture of some 80 odd elephants in a net profit of Rs. 30,000 to the State'. This print is in the duplicate album, Photo 430/60. Capt R. Lawrenson on horseback. Carte-de-visite copy of a half-length portrait of a bearded Nicholson, in uniform, his hands resting on the hilt of his sword. Plus an engraving of the painting extracted from Lord Roberts' 'Forty-one years in India' (1897). Carte-de-visite family group of Edward, Prince of Wales (later King Edward VII), Princess Alexandra, and three children.[Albumen print, 55x90mm]. Carte-de-visite head-and-shoulders portrait of Captain Justin Charles Ross (d. 1896), Royal (Bengal) Engineers 1860-88.[Albumen print, vignetted, 40x60mm]. Carte-de-visite of Lord and Lady Canning with Lord Clyde (Colin Campbell), Commander-in-Chief in India, on the terrace of Barnes Court.[Albumen print, 94x58mm]. Carte-de-visite portrait.[Albumen print, 56x89mm]. Carte-de-visite portrait.[Albumen print, 57x91mm]. Carte-de-visite portrait by Arthur Langton of London. Carte-de-visite portrait by Collins of Huddersfield. Carte-de-visite portrait by John Hodge of Stonehouse, Devon. Carte-de-visite portrait by M.V. Mower of Bristol, same sitting as Print 4. This is the mother of the unidentified family associated with this collection. Carte-de-visite portrait by M.V. Mower of Bristol. Carte-de-visite portrait Jessie Robertson, daughter of George and Laura Robertson, as a baby, held in the arms of her aunt, Annie Younghusband.[Albumen print, 60x90mm]. Carte de visite portrait of Evelyn Howell as a baby, photographed at Simla. Carte-de-visite portrait of Francis Edward Younghusband as a child, seated on the knee of an unidentified woman.[Albumen print, 60x90mm]. Carte de visite portrait of General Sir Mowbray Thomson (1832-1917), Bengal Army 1853-85, one of the only two survivors of the garrison at Cawnpore during the Indian Mutiny.[Albumen print, 65x104mm]. Carte-de-visite portrait of Norah Robertson as a young child, seated in the lap of her mother Laura.[Albumen print, 60x90mm]. Carte-de-visite portrait showing Queen Victoria seated on horseback, with her Scottish retainer John Brown holding the bridle. Probably photographed at Balmoral, where Brown was the Queen's personal attendant for 34 years.[Albumen print, 55x90m]. Carte-de-visite print, copied from a half-length seated daguerreotype portrait by an unknown photographer. The reverse is inscribed 'From a daguerreotype in the possession of Arnold A. Maxwell, 7 Church Circle, Farnborough, Hants.' A.A. Maxwell was Nicholson's great nephew. There are an additional six copies of this portrait, some made from the carte-de-visite, some from the original daguerreotype, plus an engraving of the same image extracted from L.J. Trotter's 'Life of John Nicholson' (1898). On the back of one of the copies of the daguerreotype it states that it is now in the collection of the Royal Irish Academy, Dublin. Carte de visite size montage photograph of Queen Victoria and her children. Carte-de-visite studio group, taken on the same occasion and with same sitters as print 10a.[Albumen print, 58x94mm]. Carte-de-visite studio group, with Ram Singh standing left. An attendant holds a banner with his coat of arms to his right, and to the right of this figure stand Colonel William Howell Beynon (Political Agent, Jaipur), Govind Singh and Thakur Fateh Singh (Prime Minister).[Albumen print, 92x60mm]. Cavagnari and another European officer seated in the centre of a large durbar group at Jalalabad. Second copy neg at B.7361 Cavalry group on the parade ground at Delhi.[Albumen print, oval image, 130x97mm]. Central figure has been scratched out (see Intro). Chantrey's statue of Babington, also seen in print 2.[Silver gelatin print, 152x202mm]. Charles Stotherd and another man standing by a car. Charles Stotherd on horseback. Chen seated on horseback beneath a ceremonial umbrella, with two lines of Chinese soldiers fanned out on either side of him. See also print 67. Cheung and Bailey seated side by side in armchairs in Bailey's house, with drinks in their hands. Chief of Loilong State and his ministers photographed in front of the same house (presumably the myosa's residence) seen in print 36. Children seated in deck chair. Small snapshot. Children with servants or mothers, drinking tea. See note at print 322.[Gelatin silver print, 115x77mm]. Child seated in doorway of temple. Chinese delegation with Lord Salisbury: 'Lo Feng-loh; Lord Li; Li Ching-sou; Marquis of Salisbury, KG; Li Hung Chang; Rt Hon G. Curzon, MP; Hon F. Bertie'. Chinese group with Colonel Ma in centre, beneath umbrella. Chogyal and servant standing in front of Ludlow's bungalow. Circular image. Circular print. Clements and Hinchcliffe on horseback in front of a house.[96x71mm]. Closer view of the same group in Print 132. Closer view of the three named figures, on horseback. Closer view than print 63 of sons of the Khan of Teri. Close view of a group of soldiers on parade.[Albumen print, 377x307mm]. Close view of group of musicians, holding drums and other instruments. Close view of occupants of ferry. Close view of some of the figures seen in print 19. Col Cox seated at left; Breithaupt, Liu and Peng in centre, Renny-Tailyour at right. Capt Walker and Jamieson standing at back. Colin Wakefield bathing with Hunt in the tank near their camp outside Bhongir.[Silver printing-out paper, 80x130mm]. Col J.L.T. Jones (best man) is sitting on the left. Collett standing in a garden with two greyhounds. Colonel and Mrs Cotton are seated in front of their bungalow beside a small table containing tea things. A row of 11 domestic servants stand behind them. Colonel Francis Wheler is sitting on the right, his wife is standing in the centre and his brother-in-law is sitting on the left. Colonel J.L.T. Jones' brother and family? Colonel J.L.T. Jones is sitting at the back. Colonel J.L.T. Jones is standing in the centre, partially obscured by two military officers. The Earl of Suffolk, an ADC to Curzon, is standing to the left of the bride. Colonel J.L.T. Jones is standing on the left of the group. Colonel Ma on horseback. Colonel Pank sitting on a railway trolley. Coloured portrait, attached to memoir and dated 1938, of Beryl Marian Douglas Lee Warner (n�e Hume) in her wedding dress. Col Walter Campbell sits second from the left. Commitee seated behind a collection of silver trophies. All named as follows: 'Mr.Behari Lal, Mr Cotton, Major Rayner (Secretary), Mr Hotz, Mr Parker, Mr Litster[?], Lord Irwin, Self (President), Field Marshall Sir William Birdwood, Major Anderson (Vice President)'. Company on parade, with cantonment buildings in background. Compare similar group at Photo 355/1 (212). Composite family portrait in the form of a stained glass window, with Serjeant Edward and Mrs Bellasis (Lewin Bowring's parents-in-law) standing in the centre and their ten children framed in roundels arranged around them.[Albumen print, 145x202mm]. Copy of a drawing. Head and shoulders portrait. Copy of a full-length portrait of Frederic John Napier Thesiger (1868-1933), Viscount Chelmsford and Viceroy, 1916-21. Artist unknown. Copy of a head and shoulders vignette. Copy of an engraving. Full-length portrait. Copy of an engraving. Half-length portrait. Copy of an engraving. Half-length portrait. Copy of an engraving. Head and shoulders portrait. Copy of an engraving. Three-quarter length portrait. Copy of a painting. Copy of a painting. Copy of a painting of the Maharaja sitting flanked by two tigers. A photograph of a similar scene by Ude Ram & Sons is at Photo 100 (13). Copy of a painting of the Mahdi of the Sudan, the self-proclaimed messiah who instigated the 1st Sudan War. Copy of a studio portrait. Copy photograph (poor condition), of a full-length portrait of a Polish mercenary. Original in the India Office Collections. Copy photograph of 15 framed portraits (all photographic except the first) of Viceroys' Secretaries. The individuals are named as follows: John R. Colvin; Sir Henry Mortimer Durand; Hon. Charles S. Hardinge; Hon. Gerald Chetwynd Talbot; Lewin Bentham Bowring; J.D. Gordon;Maj. General Sir Owne Tudor Burne; Maj Sie Evelyn Baring; Col Sir George Pomeroy Colley; Lieut Col H. Brackenbury; Henry William Primrose; Sir Donald Mackenzie Wallace; Col Sir John C. Ardagh; Henry Babington Smith; Sir Walter Roper Lawrence. Copy photograph of a half-length portrait. The original painting is held in the India Office Collections (ref. F.826). Copy photograph of a half-length seated portrait. On the reverse is written: 'Major Charles Stewart (1764-1837). Bengal Army: 1782-1808. Asst. Professor of Persian at Fort William College 1800-1806. Professor of Arabic, Persian and Hindustani at Haileybury 1807-1827. Published History of Bengal 1813. From a painting presented to the Victoria memorial Hall, Calcutta by Capt. W.S.R. Brock, Kilara, Kennington, Ashford, Kent. 1934. 19x16 in. Copy photograph of a head and shoulders portrait. Copy photograph of a head and shoulders portrait. Copy photograph of a three-quarter length full-face portrait of William Harwood, Bengal Civil Service 1763-c.88. A note from William Griggs to William Foster which accompanies the print, states that the original is 'in Mr Kitchin's possession'. Copy photograph of a three-quarter length standing portrait, in uniform. Copy print. Full-length standing portrait of young child. Copy print. Group portrait, with accompanying typescript list identifying sitters as follows: (seated, left to right): Captain J.E.J. Davie, ADC; Captain J.A. Hopwood, ADC; K. Shahabuddin, Chairman, District Board; J.R. Blair, ICS, District Magistrate; Moulvie Shamsuddin Ahmed,Presidemt, Hazratpur Union Board; Sir John Anderson, Governor of Bengal; W.H. Nelson, ICS, Commissioner, Dacca Division; N.V.H. Symons, ICS, Private Secretary; Moulvi Abdul Halim Chowdhury, SDO, Sadar South; Moulvi Mohammad Abul Bashar, Circle Officer, Sadar South; J.F. Coltman, Honorary Surgeon; (Standing, left to right): Moulvi Ataur Rahman, Subdivisional Inspector of Schools; Babu Kanai Lal Shaha, Member; Munshi Amjed Ali, Member; J.S.H. Shattock, ICS, Assistant Private Secretary; Munshi Haji Karam Ali Sikder, Member; Munshi Mafijuddin, member; Munshi Abdul Kader Fakir, Member; Munshi Sona Mia, Member; Moulvi Mohammad Saidul Hussain, Medical Officer; Munshi Asrab Ali Bhuyah, clerk; (standing at back): A.K. Raffiqueddin Ahmad; Moulvi Kazi Mafijuddin Ahmad; Moulvi Meherullah; Munshi Abdul Hamdi. Last four named were teachers at Kharakandi Free Primary School. Copy print. Group portrait of judges, identified in key beneath print as follows: (seated, left to right): K.C. Das Gupta, R.P. Mookerjee, G.N. Das, A.N. Sen, Sir Trevor Harries (Chief Justice), T.J.V. Roxburgh, S.B. Sinha, S.N. Bannerjee, K.C. Chunder; (standing, left to right): S.C. Lahiri, B.K. Guha, J.P. Mitter, R.S. Bachawat, H.K. Bose, S.R. Das Gupta, P.B. Mukharji, A.K. Sarkar. Copy print. Various annotations on the verso identifiy the sitters as: (left to right) Muhammad (servant), Randolph (1888-1973), Gwen (1895-1987), Arthur (1886-1978), W.D. Holmes' second wife Margaret (nickname 'Tins'), Winnie (1890-1972), Mervyn (1895-1985), and William D. Holmes (1853-1923). Copy print of a full-length standing portrait of the Pan-chen Lama (d. 1937) with Tibetan seal and inscription on mount beneath. Reproduced in Sir Charles Bell, 'Portrait of the Dalai Lama' (London, 1946), p. 369.[Gelatin silver print, 123x171mm]. Copy print of an Indian miniature portrait of Amir Khan, the Pindari leader and first Nawab of Tonk, who died in 1834. Copy print of an Indian miniature portrait of Wazir Muhammad Khan (?), son of Amir Khan and the second Nawab of Tonk, who died in 1864. Costume group, in the form a a tableau of a German bierkeller, the men seated at tables, attended by serving girls.[?Collodion printing-out paper, signed 'Watts & Skeen' in the negative, 265x184mm]. Couple posed with seven children of various ages. Couple seated at a table taking tea. Couple seated on wicker chairs in front of house, with a young child on Laura Hunt's lap. Couple sitting in a drawing room. Cricket group informally posed in front of the college buildings. The sitters are identified in a pencilled note on the card mount as follows (additional information from Memorials of Old Haileybury): George Dounton Leman, James Augustus Graham, George Lucas Lang, Nugent Murray Whitmore Daniell, Warren Hastings D'Oyly, Claudius William Bell, (Sir) Charles Edward Bernard, John Dalrymple Maclean, Richard Thomas Burney, Henry Laurence Oliphant. The photograph, taken during the last year of the college's existence, is considerably faded. Cricket team outside the pavilion. Cricket team outside the pavilion. The scorekeeper is standing at the back holding a James Lillywhite (Bombay) Register. Cropped duplicate of Print 6. Cropped duplicate of Print 7. Croquet party being served drinks in the garden. Croquet party with Lord and Lady Lawrence and other European men and women including: 'Sir C. Brownlow, Genl Lumsden, Mrs Lumsden, A. Brandreth, Col Probyn'. Crouching figure preparing chapatti on rock. 'Out on a several day patrol, a Khattack sepoy preparing chuppattees, for the midday meal (no food since daybreak). No fire needed. The unleavened dough is spread flat on the sun-baked stones and very quickly bakes itself crisp as a biscuit. Simple and satisfying.'[Sepia print, 62x108mm]. Crowd posed on boats on the Cam.[Albumen print, 275x208mm]. Curzon and the Hon'ble W. Cochrane Baillie stand with shotguns on the left. The gamekeeper (Telfer) and staff stand on the right next to a pony. Cut-out snapshot portrait of the Ranken's daughter Lilian Patricia, with a dog. Dance scene with woman (Mrs MacGowan) and two men (Saulez and Read RA). Dark print. Group portrait taken near the tower seen in the preceding prints. (Ancient Persis Map, B3). Davies, garlanded, seated in the centre of an unidentified Indian group. Dawa, one of the porters on the expedition, holds a butterfly net. Dedicated on the reverse to 'Miss Thompson'. Denys Pilditch seated with Indian staff. Departure of Bailey's party. The figure with back to the camera (?presenting scarf) is presumably the Paro Penlop. Description in Taylor's List of pictures: 'No XV. Portrait of Jung Buhadoor in his fur coat and diamond belts &c'. Description in Taylor's List of pictures: 'No XVI. Portrait of Ditto [ie Jang Bahadur] in his everyday summer costume with his two elder sons who are Generals in the Nepalese Army'.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Description in Taylor's List of pictures: 'No XVII. Ditto [ie Jang Bahadur] with his principal wife, 2 daughters and slave girls'. Description in Taylor's List of pictures: 'No XVIII. Durbar group consisting of the King of Nepal, Col Ramsay the Resident, Raj Gooroo &c'. Detail from a group portrait, the Dalai Lama is sitting with hands on knees facing the camera. A note on the reverse dated 'Darjeeling May 18 1910' reads: 'My dear Barnett, I thought this photo of the Dalai Lama taken locally might interest you. Yours sincerely, [?]'. Detail of a group portrait showing a woman and two men. Different view of the same group in Print 23. Dimilar to print 424a. Distant snapshot view.[103x78mm]. Distant view of a group standing outside the Stotherds' residence: 'C[harles Stotherd], Col & Mrs Wheeler, Lady Cleveland, Mrs Garforth'. Distant view of figure beneath trees.[80x105mm]. Distant view of Holmes' sister on a horse. Distant view of the same group seen in Print 71. District Officer (Sir Geoffrey Ramsden?) on an elephant. Dog being fed by servant. Dolut Singh and Pertab Singh on horseback. Doris Skrine and two Indian military escorts on horseback.[?Printing-out paper, mounted on card, 202x141mm]. Doris Skrine seated on a camel in front of the Chini Bagh offices, with a servant holding the animals bridle. Print mounted on card with typescript caption.[Gelatin silver print, 309x191mm]. Dorothy Dane seated on horseback, location unknown, possibly Lahore. Double exposure.[96x73mm]. Dr C.P. Costello is sitting on the left and Lieut J.C. Stewart is sitting on the right next to Paget. On the left stands Lieut G.B. Crispin and on the right is Lieut G.C. Bird. The other officer is unknown. Drever seated on ground with his dogs. Dr Hutchinson standing in a garden. Dr Russell posed on howdah.[Albumen print, 97x136mm]. Duiplicate at Photo 448/5 (100). Duplicate (in poor condition) of print 78.[Silver printing-out paper, on card mount with photographer's stamp, 287x213mm]. Duplicate (modern print) of print 25.[Gelatin silver print, 165x114mm]. Duplicate (reduced) of print 7.[Silver prining-out paper, matted, 98x148mm]. Duplicate (smaller size) of print 22. John Bellasis Bowring's room is marked on the extreme left of this print.[Silver printing-out paper, 86x76mm]. Duplicate at 897/1 (16). Many of the sitters are named below the print: '[Standing] Mr C. White, Mrs Stuart Henderson, Miss Ruth Rivers Thompson, Miss Thompson, Mrs Home, Dr Baftie, Miss Henderson, WHN [Nightingale]. [Seated] Mrs Arthur Wilson, Mrs C. White, Miss Lyall, Capt Rawlinson, Miss Thompson, Miss Rawlinson, Sir Rivers Thompson, Lady Thompson, Mrs Lyall, Mrs Joubert, Sir Alfred Lethbridge, Mrs Beller (Lady Lethbridge), Mr [Alfred Wallace?] Paul, Mr Barnes, private sec to Sir R.T.'. Duplicate at Photo 1/11 (123) where the sitters are named as: 'Back Row: Wheeler, Capt Meek, Capt Kay [Key?], Major Wood, Major Strong, Capt Morse, Mr Sladen, Trotter, Turner, [A.C.] Macnab (ICS), Capt [Rawdon] Macnab, Self [Wilberforce-Bell]. Front Row; Miss Gupta, Mrs Roughton, Mrs Kay [Key?], Mrs Wood, Miss Impey, Maharaja of Bhavnagar, Mrs Merewether, Margaret, Miss Wheeler, Miss Wheeler, Thatcher, Proctor-Sims'. Duplicate at Photo 1/2 (22). Raosaheb Hulyal (State Dewan), Mr Puranik, Shri Rajkumar Bapusaheb, Lt Col H. Wilberforce-Bell, Shrimant Pantsaheb, Mrs Wilberforce-Bell, Shri Rajkumar Raosaheb, Shrimant Yuvraj Bhausaheb. Duplicate at Photo 10/13 (3). Duplicate at Photo 10/26 (456) where they are all named as follows: '[Standing] Capt Combe, Capt Hancock, Sister Meikle, Col Walker, Capt Fraser, Capt Mostyn Owen, Capt Lunham, [Seated] M.S.V. [Military Secretary to the Viceroy, Col R.B. Worgan], Lt Burnett, Mr Fitze, Mrs Watson, H.E. [Lord Reading], Her Ex [Lady Reading], Mr Watson AGG, Miss Burney, P.S.V. [Private Secretary to the Viceroy, Sir Geoffrey de Montmorency], Miss Fitzroy'. Duplicate at Photo 132 (60). Group of British and Indian officers under the command of Lieut-Colonel T.G. Kennedy. European officers from left: Captain F. Lance, Surgeon S.C. Courteney, Lieut L.T. Bishop, Lieut J.R. Campbell, Colonel T.G. Kennedy, Captain R.C. Clifford and Captain J.H. Broome.[Albumen print, 263x206mm]. Duplicate at Photo 132 (61). Group of European men and women including officers of the 2nd Punjab Cavalry seen also in Print 87.[Albumen print, 264x196mm]. Duplicate at Photo 211/1 (61) where sitters are named as: Thornton, E. Brandreth, Mercer, Black, Pemberton, A. Brandreth, Rev Hardinge, Prinsep, Roberts, Bishop Cotton, McLeod, Taylor, Lake. Duplicate at Photo 355/2 (107). Individuals are named as follows: 'Standing behind, left to right - Col Everard Baring, Mil Sec? to Viceroy; Major Poynter, ADC; 2 Nabha officials; Mr Latimer, Asst Pol Secy; Capt Clive Wigram, ADC; Mr [R.C. Bolster] ICS; Sirdar Kahn [sic]; Major Charles Campbell, Imp Ser Troops; Seated - Sir Louis Dane, For Sec'y; Ripudhaman Singh, son & successor of the Maharaja; Lord Curzon, Viceroy; H.H. Maharaja Hari Singh of Nabha; Lt Col Dunlop Smith, Pol Agent Phulkian States; B.Genl Stewart Beatson, IG Imp Ser Troops'. Duplicate at Photo 355/2 (138). Group in the grounds of Government House, all named in a letterpress caption: '(1) Capt the Earl of Rocksavage, ADC. (2) The Lady Eileen Elliott. (3) Major G. Feilding [sic], ADC. (4) Lt Col J.R. Dunlop Smith, Private Secy. (5) Capt the Hon'ble A. Strutt, ADC. (6) His Excellency the Viceroy. (7) Capt A. Campbell Ross, ADC. (8) Her Excellency the Countess of Minto. (9) Capt H. Lambert, ADC. (10) Capt T. Rivers Bulkeley, ADC. (11) Maj F.L. Adam, Military Secy. (12) Capt Lord Francis Scott, ADC. (13) The Lady Ruby Elliott. (14) Col Crooke-Lawless, Surgeon. (15) The Lady Violet Elliott'. Duplicate at Photo 355/2 (33) where sitters are named. The two men standing at the back are Sir James Robert Dunlop Smith (Private Secretary) and Sir John Withers McQueen (Military Secretary). The man sitting on the right is Captain W.A.B. Dennys (ADC). Duplicate at Photo 355/3 (44). Most sitters are named in an accompanying key: 'Sir Chas Aitchison, Lt Gov Punjab; Andrew R. Scoble; Lord Roberts; Lord Dufferin & Ava; Lt Gen Sir Geo Tomkyns Chesney; Sir Chas Elliott; Sir Ed Buck; S. Harvey James; Sir Antony P. MacDonnell; Sir H.M. Durand; Sir Donald Mackenzie Wallace; Col E.H.H. Collen; Lord Wm Beresford; Col R.C.B. Pemberton'. Duplicate at Photo 355/4 (17). Group in the grounds of Government House, all named in a letterpress caption: '(1) Capt the Earl of Rocksavage, ADC. (2) The Lady Eileen Elliott. (3) Major G. Feilding [sic], ADC. (4) Lt Col J.R. Dunlop Smith, Private Secy. (5) Capt the Hon'ble A. Strutt, ADC. (6) His Excellency the Viceroy. (7) Capt A. Campbell Ross, ADC. (8) Her Excellency the Countess of Minto. (9) Capt H. Lambert, ADC. (10) Capt T. Rivers Bulkeley, ADC. (11) Maj F.L. Adam, Military Secy. (12) Capt Lord Francis Scott, ADC. (13) The Lady Ruby Elliott. (14) Col Crooke-Lawless, Surgeon. (15) The Lady Violet Elliott'. Duplicate at Photo 355/6 (17). Full-length portrait. The Maharaja is sitting on a chair, his feet resting on a foot stool. Poor quality print. Duplicate at Photo 355/6 (20). Sitters are named, from left: 'Khalifa Mahomed Hussain; Sirdar Gurmuk Singh; Major Dunlop Smith, CIE; Maharaja of Patiala; The Kanwar; Lala Bougwan Das; Rai Nanuk Bux'. Duplicate at Photo 355/6 (32) where sitters are named. Duplicate at Photo 49/2 (11). Individuals are named as follows: '[Standing left to right] Col the Hon E. Baring, mil sec; Major Poynter; Md Manowar Ali Khan; Lala Nathu Lal; F.W. Latimer (Asst Priv Secy); Capt Wigram, ADC; Sirdar Hazura Singh; Mr Bolster, CS; Sirdar Kahan Singh; Major Charles Campbell, 6th BC. [Seated] Mr L.W. Dane, Foreign secretary; [Ripudhaman Singh] The Tikka Sahib; HE the Viceroy; H.H. the Raja of Nabha; Major Dunlop Smith; Brigadier General Stuart Beatson, CB'. Duplicate at Photo 639/6 (7). See also Photo 639/1 (10) taken at the same sitting. Named as follows: 'General W. Gatacre, Adjt General; General Adam, QMG; Major Clowes, 11th Hussars; Major Mein, DAAG; Capt Dyson; Capt Kelly, RE; Col Greig, RA; Major Spratt, RE; Major Rawdon Reilly, AAG; General Boyce Combe; General Sir George Greaves, Commander-in-Chief, Bombay Army; Prince Esterhazy'. There is also one unnamed woman in the group. Duplicate at Photo 761/1 (6). The group includes, from left: Sir William Mackworth Young, Sir Pratap Singh, Lieut-Colonel Adelbert Cecil Talbot and Amar Singh. Sir Louis Dane is standing behind Talbot. Duplicate at print 10, where the horse is named Black Bride. Duplicate at Print 113. Duplicate at Print 172. Duplicate at Print 239 and at Photo 448/5 (63). Group portrait probably at Colonel Jacob's house in Jaipur (see Print 240) including: Thakur Mehtab of Sewar, Thakur of Atchraol, Mrs Jacob, Charles Stotherd's sisters, Macalister, Mrs Pank, Jameson, Traill and Sconce. Duplicate at Print 3. Duplicate at Print 61. Duplicate at print 66. Duplicate at Print 80. Duplicate from original nitrate negative only: no print. Duplicate in Photo 10/30. Duplicate in Photo 175. All sitters are named in an accompanying key: 'Philip P. Hutchins (Barrister); Andrew R. Scoble, QC; Gen Sir Fred. Roberts; Lord Lansdowne; Gen Sir Geo. Chesney; Sir Chas. Elliott; Sir David M. Barbour; Sir Edward Buck; Sir Antony P. MacDonnell; S. Harvey James; Lord Wm Beresford; (Indian Cav Regt) Lt Brasier-Creagh; Col Sir John Ardagh; Col E.H.H. Collen; Col R.C.B. Pemberton; Ed. Jas. Sinkinson'. Duplicate negative, no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate negative from a nitrate original now destroyed: no print. Duplicate of Mss Eur F157/481 (18) Duplicate of Photo 10/26 (14). Duplicate of Photo 10/27 (133) where the sitters are named as: 'Back row - Captain Mostyn-Owens; Captain Burton; Col Carey Evans; Col Worgan; Sir Geoffrey de Montmorency; Major Ogilvie; Mr Cater; Captain Prior; Captain Gregory-Smith. Front row - Miss FitzRoy; Mr Isaacs; Mrs Barton; H.E. [Lord Reading]; Her Ex. [Lady Reading]; Mr Barton; Mrs Isaacs; Sister Meikle'. Duplicate of Photo 172/1. Duplicate of Photo 254/1 (9). Duplicate of Photo 639/1 (11). Duplicate of Photo 966/1 (1a). Duplicate of Photo 99 (47). The figures in the group are as follows: Officers: Gen H.H. the Maharaja of Idar (Hon. Commandant); Maj W.A. Watson C.I.H. (Commandant), Capt D.H. Cameron C.I.H. (Adjutant), Lieut Rao Bahadur Thakur Dip Singh; Imperial Cadets: the Maharaja of Jodhpur, the Maharaja of Kishengarh, the Nawab of Jaora, the Raja of Rutlam, the Maharaja Ran of Djolpur, Sardar Basant Singh of Atari, Kunwar Pertab Singh of Kama, Kunwar Jorawar Singh of Bhavnagar, Maharaja Akhey Singh of Jodhpur, Thakur Gopal Singh of Gandoz, Bhanwar Amar Singh of Jaipur, Kunwar Ram Singh of Virpur, Kunwar Khaman Singh of Kota; Thakur Deo Singh of Kota, Raja Samandar Singh of Weir, Kunwar Bharat Singh of Rutlam, Sahibzada Amanutulla Khan of Tonk, Kunwar Rai Singhji of Chota Udepur, Nawab Wali-ud-din Khan of Hyderabad, Khan Muhammad Akbar Khan of Hoti, Sardar Muhammad Khan of Sardargarh; Aga Kassim Shah, Sahibzada Tale Muhammad Khan of Palanpur. Duplicate of preceding print. Duplicate of print 1, but with some yellowing.[Gelatin silver print, on photographer's mount, 102x145mm]. Duplicate of print 1, in poorish condition.[Silver printing-out paper, 80x103mm]. Duplicate of print 1, mounted on card.[Silver printing-out paper, 212x158mm]. Duplicate of print 1, which see for identifications. Duplicate of print 1.[284x220mm]. Duplicate of print 1.[Platinum print, 95x134mm]. Duplicate of print 1.[Silver printing-out paper stereoscopic print, 159x68mm]. Duplicate of Print 1. Duplicate of print 1. Duplicate of print 1. Duplicate of print 1. Duplicate of print 10. Duplicate of print 100. Duplicate of print 105. Duplicate of print 11, this copy mounted on card with photographer's stamp. Also in very poor condition, with much damp staining. Duplicate of print 11. Duplicate of print 110. Duplicate of print 111. Duplicate of print 112. Duplicate of print 114. Duplicate of print 12. Duplicate of Print 125. Duplicate of Print 13. Not British Library copyright. Duplicate of print 13. Duplicate of print 13. Duplicate of print 1340. Duplicate of print 1342. Duplicate of Print 135. Duplicate of Print 136. Duplicate of print 14. Duplicate of print 147. Duplicate of print 15. Duplicate of print 158. Duplicate of Print 158. Duplicate of print 16.[Albumen print, 97x138mm]. Duplicate of Print 16. Duplicate of Print 16. Duplicate of print 166 (qv). Duplicate of Print 169. Duplicate of print 17.[Albumen print, 148x90mm]. Duplicate of print 17.[Silver printing-out paper, 288x209mm]. Duplicate of Print 17. Head and shoulders portrait. Duplicate of print 17. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 330x450mm]. Duplicate of Print 17. Duplicate of Print 17. Duplicate of Print 177. Duplicate of Print 179. Duplicate of print 18.[Albumen print, 147x95mm]. Duplicate of print 18. Duplicate of Print 19. Print is tightly rolled. Duplicate of Print 19. Print is tightly rolled and torn. Duplicate of Print 19. Duplicate of Print 19. Duplicate of Print 19. Duplicate of print 2.[Albumen print, 192x287mm]. Duplicate of print 2.[Silver printing-out paper, 257x209mm]. Duplicate of print 2. Duplicate of print 20, in poor quality, with folds and some fading.[348x253mm]. Duplicate of print 21.[Gelatin silver print, 38x64mm]. Duplicate of Print 21. Print is tightly rolled. Duplicate of print 21. Duplicate of Print 21. Duplicate of print 22.[Albumen print, 215x148mm]. Duplicate of Print 22. Print is tightly rolled. Duplicate of print 23. Duplicate of Print 23. Duplicate of print 24. Duplicate of print 25, but printed on a different type of paper.[96x73mm]. Duplicate of print 25. Duplicate of print 27. Duplicate of print 28.[Gelatin silver print, 216x302mm]. Duplicate of print 3.[Albumen print, 99x139mm]. Duplicate of print 3.[Silver printing-out paper, signed 'Holmes' in the negative, 282x205]. Duplicate of Print 3. Duplicate of print 30. Duplicate of print 31.[Albumen print, 148x102mm]. Duplicate of print 31.[Gelatin developing out paper, 120x96mm]. Duplicate of Print 31. The sitters are as follows: Fourth Row - Captain Gage-Brown, Captain Pert, Captain Herbert, Captain Burton, Major Vaux, Lieutenant Smith (O.C. Guard). Third Row - Risaldar-Major Lakhpat Singh, Captain Lyon, Major Wilson, Major Lucas, Lt Colonel Norman Walker, Captain Seymour-Williams, Captain Gordon-Duff, Captain Waller, Captain Previt�, Mr Calvocoressi. Lt Colonel Harvey, Captain Hakewill Smith. Second Row - Captain Paget, Mr Kerr, the Nawab of Savanur, Sister Meikle, Mr Best, the Chief of Phaltan, Colonel Worgan, Sir Geoffrey de Montmorency, the Chief of Sangli, Miss Lawrence, Kumar Shri Naharsinghji of Baria, Captain Balkrishna Rao, Miss Charnaud, Captain Lunham. Front Row - Lady Worsley, the Governor of Bombay (Sir Henry Lawrence), the Lady Irwin, the Viceroy [Lord Reading], the Countess of Reading, Lord Irwin, Lady Lawrence, Lady Mary Herbert. Duplicate of print 32.[Gelatin silver print, 194x149mm]. Duplicate of Print 32. Duplicate of print 34.[Gelatin silver print, 282x229mm]. Duplicate of print 35. Duplicate of print 37.[Gelatin silver print, 137x193mm]. Duplicate of print 37.[Gelatin silver print, 143x203mm]. Duplicate of print 37.[Gelatin silver print, 145x203mm]. Duplicate of print 37.[Gelatin silver print, 146x195mm]. Duplicate of print 37.[Gelatin silver print, 146x203mm]. Duplicate of print 39.[Albumen print, 178x240mm]. Duplicate of print 39. Duplicate of print 4, but with mount trimmed off.[?Collodion printing-out paper, 104x134mm]. Duplicate of print 4, inscribed on reverse: 'George L. Monk, from George A. Lefroy, Feby 28th/98.'[Albumen print, 105x146mm]. Duplicate of Print 4. Named from left: 'E.W. Greatrex (No 8 Div); V.A.M. Fowler (No 1 Div); J.H. Harwood (No 9 Div); A.N. Lysaght (No 6 Div); P.F.R. Newbury (No 5 Div); J.E.F.H. Roche (No 4 Div); Col F.D. Middleton (Commandant); Hon E. Knatchbull-Huggessen (No 7 Div); F.E.P. Curzon (No 10 Div); J.R. Dunlop-Snith (No 3 Div); L.S. Newmarch (No 2 Div)'. Duplicate of print 4. Duplicate of print 4. Duplicate of Print 4. Duplicate of print 4. Duplicate of print 40.[Albumen print, 129x160mm]. Duplicate of print 40. Duplicate of print 41.[Albumen print, 175x128mm]. Duplicate of Print 41. Duplicate of print 44 (which see for note).[Silver printing-out paper, on card mount with photographer's stamp, 291x217mm]. Duplicate of print 47.[Gelatin silver print, 78x133mm]. Duplicate of print 49. Duplicate of print 5, similarly hand-coloured.[Albumen print, 293x230mm]. Duplicate of print 5.[92x124mm]. Duplicate of print 5.[Gelatin silver print, 186x124mm]. Duplicate of print 5.[Silver printing-out paper, 148x197mm]. Duplicate of Print 5. Duplicate of print 51. Duplicate of print 52.[Gelatin silver print, oval image, 61x92mm]. Duplicate of print 56.[Gelatin silver print, 100x144mm]. Duplicate of print 56.[Gelatin silver print, 100x145mm]. Duplicate of print 57.[Gelatin silver print, 100x146mm]. Duplicate of print 57. Duplicate of print 58. Duplicate of print 58. Duplicate of print 59.[249x196mm]. Duplicate of print 59. Duplicate of print 6.[Albumen print, 278x222mm]. Duplicate of print 6.[Sepia toned print, 280x219mm]. Duplicate of print 6. Duplicate of Print 6. Duplicate of Print 6. Duplicate of print 65. Duplicate of print 65. Duplicate of print 68. Duplicate of Print 7. Duplicate of print 70. Duplicate of print 74. Duplicate of Print 74. Duplicate of print 78a, but in a smaller format.[Silver printing-out paper, 57x91mm]. Duplicate of print 8. Duplicate of Print 8. Duplicate of print 80.[Silver printing-out paper, on card mount with photographer's stamp, 288x214mm]. Duplicate of print 9.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 287x214mm]. Duplicate of print 9. Duplicate of print 90. Showing Sir Rajaram Chhatrapati with his children and European guests at the racecourse. Other identified figures are Rawdon Macnabb, Colonel Edward O'Brien (Acting Resident, Kolhapur), Mrs O'Brien and Captain H.G. Rivett-Carnac (Political Officer). Duplicate of print 92. Duplicate of print 95.[Gelatin silver print, 234x143mm]. Duplicate of print 95. Duplicate of print 97. Duplicate of prints 110 and 119. Duplicate of prints 1-2, reduced to cabinet portrait size. In poor condition (damp damage).[87x125mm]. Duplicate of prints 2 and 3.[Albumen print, 192x305mm]. Duplicate of prints 31-32.[Gelatin developing-out paper, 120x96mm]. Duplicate of Prints 41 and 83. Duplicate of prints 4 and 11. Duplicate of prints 6 and 7.[Albumen print, 273x214mm]. Duplicate of prionts 31-33.[Albumen print, 120x94mm]. Duplicate print at Photo 355/4 (87) where the sitters are named as: Back Row Major Crawley; Capt Pearse; Capt Mackenzie, ADC; Major Lascelles; Major Fielding, ADC. Middle Row Janet Dunlop Smith; Col Forbes; Count de Sala; Miss Salberg; Capt Elgee, ADC; Capt Bulkeley; Capt Webber; Mrs Lawrence Drummond; Lord Bury, ADC; Minnie (sister of J.R. Dunlop Smith); Lady Victoria Crawley. Seated Col Adam; Lady Eileen; J.R. Dunlop Smith; Lady Victoria Dawnay; HE the Viceroy, Lord Minto; Her Excellency, Lady Minto; The Hon Esmond Elliot; Lady Sybil Lascelles; Mr Lancelot Hare, Lieutenant-Governor of Eastern Bengal; Lady Violet; Col Drummond. Duplicates at Photo 2/3 (6) and Photo 28/2 (14). Duplicates at Photo 448/2 (169) and (239). The majority of sitters are named as follows: 'Rupji, Miss Gauri [?], E.A.S., Mrs Jacob, Sconce, Macalister, C.F.E.S., Mrs Pank, Jameson, Mrs Tate, Traill'. Duplicates at Photo 471/1 (2) and 475 (7). Reproduced as plate 7 in Bourne and Shepherd's Royal Photographic Album of scenes & personages connected with H.R.H. the Prince of Wales' tour in India, 1876 (Calcutta 1876). Duplicates at Photo 94/2 (25). The group, posed beside the building's porte-cochere, are from left to right: Marion Aitchison, J.R. Dunlop Smith, Tina Aitchison, Sir Charles Aitchison, Col McQueen, Lady Aitchison, unidentified woman, Gertude Aitchison and W. Dennys. Durand is seated second from left, identified by 'H.M.D.'. E.H. Colebrook sits in the centre, his dog at his feet, with other officers named on the reverse as follows: 'T. Ramanujam, Usilampatti; M.S. Ananta Ram, Tanjore; C.V. Arunagiri, PA Ramnad; C. Balakrishna Odayar, Madura Crime; R. Muniyandi Pillai, Chidambaram; M. Krishna Murthi, Kallar Reclamation; M.L. Thomas, Madura Town; K.V. Ramanujam, Ramnad; S.T. Srinivasam, Dindigal, DIG, SR; P. Kandaswami, S. Arcot Dt; M.D. Ebenezer, Ramnad Dt; W.E. Middleton, N. Madura Dt; P.V. Bhaskaran, S. Madura Dt; J.R. de Chazal, Tanjore Dt; S. Vijaya Rangam Naido, Tinnevelly Dt; R.K. Sukumaran, PA Madura N.'. E.H. Colebrook with constables and civilians. E.H. Hunt seated in front of his tent on Christmas morning reading his letters. Photograph taken by George Wakefield.[Silver printing-out paper, 122x78mm]. East Indian Railway Volunteers' Band? Edith Mary Bowring and Francis Stephen Bowring dressed up as nuns, with Edith seated on a bicycle while Francis feigns shock.[Silver printing-out paper, 98x78mm]. Edward and Charles Campbell, the twin sons of Sir Edward Campbell, standing in front of their pram. Taken on the same occasion as print 17b.[Albumen print, 175x133mm]. Edward Molloy (1842-1905) posed on carpet, with hunting trophies arranged behind him. Edward Prince of Wales standing beside elephant.[Albumen print, 96x137mm]. Eight of ten individuals are named: L.A. Fanshawe, C.J. Boyce, Wilson (Madras), J. Cunningham, Lloyd (Madras), J.S. Graham, H.W. Bell, H. Massy-Dawson (Madras). Eight prints, informal head and shoulders portraits of English colleagues and friends identified as Bishop, Samuel and Monica Thompson, Nora Fraser, Jill, Major Simpson. Eight prints, informal portraits of friends and colleagues. Print 297 is captioned 'Ratan Tata Nov. 1941', and another caption reads 'Ratan Tata Convalescents'. Eldest son of the family associated with this collection? Elephants lined up preparatory for setting out on hunt. Most of the figures seen in print 104 are present in the group, with the named addition of Mr Elliot Colvin and Colonel Dickens.[Albumen print, 135x98mm]. Engineers gathered round the block which reads: 'This memorial block 27 tons weight and similar to those 1850 in number of which the breakwater superstrucure is built was placed by the Titan crane on 17th January 1874 in the presence of His Excellency the Honourable Sir Philip Edmond Wodehouse, KCB, Governor of Bombay. Thus is recorded the completion of the Manora Breakwater which is the most important feature of the Kurrachee Harbour Improvement Works planned in 1858 by the late James Walker...Civil Engineer. The first block was set on 1st November 1870 by Colonel Sir William Lockyer Merewether, KCSI & CB, Commissioner in Sind. The last block was set on 22nd February 1873. William Parkes...Consulting Engineer; William Henry Price...Superintendant of Works; George William Lowe, Foreman of Mason Work; William Sangster, Foreman Engineer; Bhumaya Saenna, Supervisor; John Humby, Subengineer'. Engineers posed on rail track over river. English woman (identified as 'D.N.') and 'the Prince' standing in front of the temple with a group of children: 'These young boys (often of the Sikkim and Tibetan nobility) are given to the Temple and trained by the Lamas (priests) as Buddhist priests.' (Notes on reverse of print). Enlarged duplicate of print 25.[Gelatin silver print, mounted on card, 288x233mm]. Enlarged duplicate of print 55. Enlarged snapshot of Ernest George Pattle (1883-1963) in discussion with other Europeans on an open piece of ground.[Gelatin silver print, 157x120mm]. Enlarged snapshot of Ernest George Pattle and other Europeans in discussion round a map. The photograph was taken on the same occasion as print 9.[Gelatin silver print, 177x119mm]. Equestrian portrait. Poor quality print. Equestrian portrait. Equestrian portrait. Equestrian portrait. Equestrian portrait of an Indian officer in Poona Horse. Equestrian portrait of Thakur Rupsingh of Naila. Equestrian portrait probably at Simla. Equestrian portrait signed, 'Minto 1909'. Equestrian portraits with Colonel J.L.T. Jones. Equestrian portrait with syce. Caption is a modern typed label. Equestrian statue. Caption notes read: 'This statue, by Baron Marochetti, is placed on the Band Promenade in front of the eastern facade of the Public Offices, Bangalore. It was erected to Sir Mark's memory by public subscription.' Second copy neg at B.15975. Equestrian statue of Lord Canning, standing on a wooden pallet in Trafalgar Square before transportation to Calcutta. With the National Gallery in the background. For another copy of this print see Mss Eur D661 (42).[Albumen print, 160x139mm]. Equestrian statue of Lord Canning standing on a pallet in Trafalgar Square before being taken to India. With the National Gallery in the background. See Mss Eur G.91 (175c) for another copy of this print. [162x133mm]. Ernest Havell at the piano; a seated woman, presumably his wife Lili, seated beside him reading a score. Probably photographed at Madras. Estate labour and two European managers posed in front of a corrugated-iron roofed bungalow. Print dated 3 Jan 1924 on reverse, but this probably indicates a date of receipt rather than taking of photograph. European and Bhutanese group, with Ludlow standing on left. European and Bhutanese group, with Ludlow standing on right. European and Bhutanese group: with Frank Ludlow seated second from right, Maharaja Jigme Wangchuk third from right. European and Bhutanese group: with Frank Ludlow second from left, Maharaja Jihme Wangchuk second from right. European and Tibetan group seated round table. European child on a pony held by an Indian attendant. European couple (Hoggs?) with bearers. European couple standing on a snow covered hill, near Gulmarg. European employee of Steel Bros and Co. seated in front of a lagre pile of luggage.[102x71mm]. European family posed with carriage in front of a house, with servants. The two adult Europeans are identified as 'C.E.S.' and 'E.S.' (presumably Major and Mrs C.E. Sawyer).[Albumen print, signed 'Townshend Phot.' in the negative, 274x202mm]. European family with servants including an ayah. The location is uncertain; there is a Jafarabad in Gujarat and a fort of that name at Mercara (Madikeri) in Karnataka in which there is a Commissioner's house. European group, including an archery party, presumably in the garden of Akbar's tomb. Murray is standing on the left. Small faded print. European group, including P.E. Slack sitting on the left. European group, including the groom, Stewart, Budd and J.W. Watson. Possibly Captain A.F. Stewart and Major N.A.H. Budd of the 116th Mahrattas. European group, posed with line of elephants behind. The following figures are identified: Hill, Mjor Pratt (IMS), Harrison, Sir Anthony Macdonnell, Hailey, Mr James, Major Pennell, Mrs Millar, Mrs Harrison, Lady Macdonnell, Miss Macdonnell, Captain Bayley, Mrs Wood, Lady Strachey, Wood, Sir Arthur Strachey.Silver printing-out paper, 290x212mm]. European group, some holding guns, posed in front of a stone cottage at Deoban. Florence Bailey is seated on the right. Frederick Bailey is lying on the ground at the front of the group. Other figures unidentified. Second copy at print 88.[Albumen print, 176x128mm]. European group, some on horseback, gathered on the drive of the Residency. Three of the figures are identified as Crane, Mary and de Bergh. European group (including Frank Ludlow) seated round camp table. European group and Indian labourers gathered round excavated pit, which appears to contain a cist (stone burial chamber). The back of the prints has some pencilled notes relating to the processing of the photograph.[Silver printing-out paper stereoscopic print, 158x67mm]. European group and servants posed in front of a bungalow at Kodaikanal. European group gathered round a tea table, location unidentified. European group gathered round a tea table, some holding tennis rackets. Handwritten key on the print identifies the sitters as follows: Mr Midwinter (probably W.C. Midwinter, Assistant Commissioner, Prome); Mr Fanshaw; Dr C.G.R. Naylor, Civil Surgeon, Henzada; Mr H. Godbier, Moedical Officer, Henzada; Mrs Midwinter; Mr Adamson; Mrs Henderson; Mr Henderson; Mrs Naylor. European group having a picnic in a summer house, with an Indian servant standing in the background. T. Hammond at left of group. European group including Colonel J.L.T. Jones. European group including the Hammond family and P.E. Slack (centre), European group including the Jacobs, outside a bungalow. European group including the Lieutenant-Governor of Bengal, Sir Augustus Rivers Thompson. W.H. Nightingale is standing second from right at the back, with a cigar in his mouth. The majority are named in the duplicate print at Photo 897/2 (56). European group including the Viceroy, the Marquess of Lansdowne, and staff sitting under a shamiana. The fair is held in May each year in a valley below the Mashobra bazaar. European group in front of (?Government) House. European group in front of the Agency. The figures are identified as follows (left to right): Patamdu (Tibetan servant?), Major Barclay, Major Vaughan, Bailey, Dr Kennedy, Sergeant Dunne, Macready. European group in garden, seated at tables in front of summerhouse.[(?)Collodion printing-out paper, 156x109mm]. European group in garden.[93x71mm]. European group in garden.[95x69mm]. European group in the hallway of a bungalow, a 'bag' of snipe on the floor: 'Sam & Monica Thompson, Ricketts, Simon, Nora Warren, Doug Warren, Betty Williams, Emma Ricketts, Colebrook, Ardair, Mack, Palmer-Jones'. European group in the hills. European group named as follows: '(Courier); Hon G.N. Curzon; E. Sebright; R. Jamieson; [Two unidentified men]; Earl of Hopetoun; (Courier)'. European group on a platform. Some sitters are named, from left: 'Gen Tyler; Lord Arthur Cecil; Capt Macdonald; Gen Sir R. Hart, VC; J.R.D.S. [Dunlop Smith]; Col Yate, AGG; Capt Archer; Col Fullerton'. European group on beach. Some figures obscured. European group on the steps of the clubhouse. The man sitting on the left is 'Tom', manager for the Chartered Bank of India, Australia and China and probably a relative (brother?) of Colonel J.L.T. Jones. European group on verandah of house with pet bear. Jack Francis Needham (1842-1924) is presumably the seated figure behind directly behind the bear.[Printing-out paper, 91x79mm]. European group outside a bungalow. European group picnicing, probably near Sonamarg. Sitters identified as follows: Cassidy; Miss Margary; Atkinson; Hadow; T.J. European group posed at roadside. The following figures are identified: H. Gwghagan, Col. Pollard, Collet, C. Graham, C.V. McIvor, P.J. Large, D. Heenan.[Albumen print, signed 'R.H. 102' in the negative, 226x173mm]. European group posed beside the young elephant seen in print 33. Mr and Mrs Petley are to the right of the animal. Other figures unidentified.[Printing-out paper, 91x71mm]. European group posed for their photograph on a tennis court. Two of the ladies have bicycles, while a servant in the background holds a bag of golf clubs. Mounted cabinet portrait. European group posed in a depression in the rocks. European group posed in front of an unidentified building.[291x212mm] European group posed in front of bungalow, Print in very poor condition. The sitters are the same as those listed in print 29, apart from Capt Brook, who does not appear in this print. European group posed in front of tent; presumably at Damoh. European group posed in front of thatch accommodation, with plaque reading Mrs Lloyd beside door. The only identified figure is Laura Buckingham, seated on right.[Gelatin silver print, 280x228mm]. European group posed in front of the verandah of a house. The following identifications are supplied: Lieut Snow; Surg Major Moore; Surgeon Woodhouse; Mrs Welman; Lieut Welman; Mrs Moore; Major Russell; Mrs Woodhouse. European group posed in front of trees, with tent in background. Sitters are identified as follows: Mrs garden, John [Younghusband, Mrs Holland, Fanny Merk, Mr Merk, Mrs Bamfield, Amy Bamfield, Clara [Younghusband, Mrs Merk, Major Bamfield, Dr Garden (Garden's name, originally written Gardner, has been corrected in pencil to Garden).[Albumen print, 152x102mm]. European group posed in garden. Taken on the same occasion as print 28. Print in very poor condition. The sitters are identified beneath the print as follows: front row: Mrs Hooper, Capt Yates, Mrs Tyndall, Capt Newill, Mrs Gordon; back row: Capt Brook, Capt Morant, Capt Gordon, Capt Hooper. European group posed in the camel carriage and on the camels themselves. The group comprises the same figures as seen in print 2 and was evidently taken on the same occasion. Print torn in lower half. Duplicate at Photo 556/3 (24). European group posed in woods at Simla.[Albumen print, 283x218mm]. European group posed on lawn.[Silver printing-out paper, 283x212mm]. European group posed on steps of the Residency. On the back of print 79 (a copy of this portrait), Eileen Younghusband has identified Hugh Childers, personal assistant to the resident, as being present in the photograph. He is probably the young man standing to the right of Younghusband. The central, presumably senior, figure in the group is unidentified.[Silver printing-out paper, on card mount with photographer's stamp, 285x210mm]. European group posed on the banks of the Brahmaputra at Kobo, on the return from the expedition (purpose unspecified) to the north-east frontier of Assam. Original and duplicate negatives only, no print. European group posed outside a house. C.E. Stotherd is standing on the right. The architect, Samuel Swinton Jacob, is sitting on the ground on the left. European group posed with the reservoir behind. European group seated in a garden. European group seated in garden. European group seated in garden in front of bungalow. Clement George Parson, Indian Staff Corps, was Deputy Commissioner, Ambala in 1898.[Albumen print, 197x153mm]. European group seated in narrow dugout canoe. European group seated in the saloon of an Irrawaddy river steamer. Sir Hugh Barnes seated third from right. Good view of punkahs and cane furniture. European group seated on a grassy bank beneath trees. No identifications supplied. The only identified figures are Robert Baker-Carr, ADC to Lord Curzon, seated fifth from the right in the front row, and Edith Helen Barnes, seated in the back row, third from left. European group seated on chairs in front of the station buildings. European group sitting in a howdah. European group sitting outside a wooden bungalow with hills in the background. Identified as: 'J.H.C., J.A.D. [and] C.E.S.'. European group standing on the viewing platform of a rail coach. Indian engineers are standing on the station platform. Some individuals named as: 'Hira Lal; Bhoora; Sri Ram; Cooke; Lovell [and] Fleischer'. European group standing outside a station building. European group with: 'Miss Percy Smith, Col Percy Smith, Mrs Percy Smith, General Hogg, Captain Purvis, Captain Mead'. European group with Indian bearers, posed with bag, mainly rabbit. The European figures are identified as Carptain Stewart, Major Walker, Captain Rawling, Major Cassells. European group with servants standing behind. European man, presumably Newgate, standing in garden. European man in yachting rig (Re. Storrs-Fox?) with dog Pixie. European man posed with stag's antlers. European man seated in a wicker chair on a verandah. European man sitting on a railway trolley being pushed by Indian attendants. The man is holding a gun and dead floricans hang from the back of the trolley. European picnic group, no identifications or location supplied. On the rock-face in the background part of a painted regimental insignia can be seen: this is possibly part of the series of badges of regiments who served on the frontier from the time of Lord Roberts (see illustration in the Holmes booklet, Between the Indus and Ganges). European sitters named as follows: '[From left] Mrs Keane; Capt Boddington, RE, SDO; Brickman, SDO; Mrs Hunt; G.H. Hunt; Mrs Jefferis; Shaw, Tunnel Foreman; C.E.Jefferis; Mrs McPhail; Capt Kean, RE, EE; Mrs Boddington; McPhail, Surveyor'. Europeans named below print: 'Mrs Ross, Mr Warner, Mrs McDonald, Col McD., Major Fraser, Capt & Mrs Hallowes, Mr Wilkinson'. European tennis party posed in garden. Handwritten key beneath the print supplies identification of sitters as follows: Maj. Shepherd; Close; Verner; Vaughan; Miss Erskine; Col. Mareth; Capt. Donne; Col. Sharpe; Miss Henslowe; Capt. Borton; Mrs Butts; Erskine; Col. Erskine; Mrs Mareth; Miss Sharpe; Miss C. Henslowe; Penny; Dr Molesworth; W. Jones; Mr Butts; Dr Mulvany; Head. European wedding group with Colonel J.L.T. Jones standing on the left. European woman, probably Joan Case, standing beside a tall anthill. European woman (Mrs C.E. Ohenius, Inspectress) seated in a pony trap. European woman (Mrs Storrs-Fox?) and dog seated on beach. Evelyn Howell on horseback, unidentified Indian figure standing beside carriage. Identifying caption beneath print appears to read 'Nizam ud din'. Event and location unidentified. Possibly at Bombay or Secunderabad. Exact location uncertain, though probably Bangladesh. Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Ex-Raja of Ladakh seated with wife and children. A very faded print. F.M. Bailey standing beside a woman identified as Mrs Arthur and Irma Bailey. F.O. Bell is sitting on the chair on the left. Facing p. 112. Portrait group of three Sart (settled as opposed to nomadic) men, seated around a tray of food placed on a low table. The 'sandali' in the title refers to the heating mechanism, consisting of a fire beneath the table. The table itself is covered with a heavy rug to retain the heat and the sitters place their legs inside this to warm themselves. The man seated on the left is smoking a water pipe. Faded and indistinct snapshot of a seated man and woman. Faded and indistinct snapshot of group, possibly taken in a bazaar.[Albumen print, 62x62mm]. Faded and yellowed print. Faded group portrait, with typescript label on reverse reading (in part): 'Father was at the time in the Engineering Department of the Eastern Bengal Railway at Muragachha. Henry Percival Floyd son of John Armstrong Floyd District Superintendent of Police Rungpore. Father is seated in chair sixth from left or third from right.' The label also records that the photographs was sent to Stanley L. Floyd in England from Arnold A. Floyd from the Passport Office at Dum Dum in January 1953. Faded print.[206x152mm]. Faded print. Showing pupils seated on rugs in a courtyard, with maps affixed to the walls behind. Faded print. Slightly distant family group posed in front of the verandah of Egerton Hall.[Albumen print, 145x94mm]. Faded print. Faded print. Faded print showing a group at a tennis party held by Samuel Swinton Jacob. Named as follows: 'Amer, Chiman, Hari, C.E.S., Mahtab, Irwin, Bhoorji, Pank, Devi, Mudhan, Partab, Kishen, Jowalin, Sheonath, Kalyan, Rupji, Traill, Miss T., Mrs J[acob], Col J[acob], Miss Gauri [?], Mrs Pank, Macalister, Atchraol'. A similar print of better quality is at Photo 448/5 (64). Family group, formally arranged on the vernadah of the Taotai's house. Family group, seated beneath umbrellas. Family group of chief of Hsamonghkam with wife and daughters. Family group of Hugh Shakespear Barnes posed in front of the porch of the bungalow seen in print 32. With uniformed servants in the background. Similar to prints 37-39. Family group portrait, slightly blurred. Family group portrait. Family group posed at entrance to house. Family group posed in a park in Lhasa. Family group posed in garden in front of window. With Lewin Bentham Bowring and his wife Katharine in the centre, flanked by Charles Talbot Bowring and John Bellasis Bowring.[Silver printing-out paper, 103x76mm]. Family group with ADCs, posed in front of the verandah of Government House. Marked 'Proof copy' on reverse. The sitters are identified on the reverse as (back row, left to right): Dorothy Dane, Captain James Russell (ADC), Nellie Dane, Major Edward Bayley (Private Secretary and ADC); (front row, left to right): Lady Edith Dane, Denise Dane, Sir Louis Dane. Family group with a small dog cart. Faded print.[139x84mm]. Family portrait. The woman has a caged bird on her lap. The portrait shows William Gordon Young (b. 7.3.1824), Bengal Civil Service, Director of Public Instruction, Lower Provinces in 1858, his wife Jessie Palmer Young and their son Percy Gordon Radstock Young (b. 1852). The reference to Mrs Young's hair relates to the blue-sensitive characteristics of early photographic materials: this has resulted in her hair looking black. Family portrait on the verandah of a house. Father and son standing in front of grass hut at the Mipi camp. The original pencilled caption adds: 'He went with us to Showa; head bandaged for sword cut from Mishmi.' Sonam Chumbi was employed as a guide on the journey from Mipi to Chimdro, and is mentioned on several occasions in Bailey's No Passport to Tibet. Female group, seated on carpet. Faded print. Female labourer carrying basket on head. Duplicate negative, no print. Figure seated behind desk. Figures identified as: Yoosuf Adil Shah, Ismail Adil Shah, Ali Adil Shah, Ibrahim Adil Shah II, Mahmood Adil Shah, Ali Adil Shah II, Sikunder Adil Shah. Figures identified as Kathleen Gamble (?), Bunting Dane and Mlle Schweizer (presumably a governess employed by the Dane family). Figures identified beneath print as follows: Jawer Hussein Khan of Palanpur; Shahzade Tale Mahomed Khan (Heir Apparent), E. Lynch-Blosse ICS, Margaret Wilberforce-Bell, Major Norman Sinclair Coghill (Political Agent, Palanpur), Sir Sher Mahomed Khan, Nawab of Palnpur, Harold Wilberforce-Bell. Figures identified beneath print as follows: Taylor (S&TC); Wilson (22nd Punjabis) Lister (Buffs); Langridge (22nd Punjabis); [?]Beauge (RAF); Godeland (S&TC); Plenderleith (RAF); Hembrow (Middlesex Yeomanry); Backhouse (Buffs); Hathaway (22nd Punjabis); Harold Wilberforce-Bell (Political Department); Astley-Cooper (S&TC); Avery (Aden Troop); Stanley Jones (S&TC); Madell (13th Pack Brigade, RA); Kashmir Khan (S&TC); Ahmed Shah (Aden Troop); [?]Kamyab Khan (Aden Troop); Fateh Khan (Aden Troop); Phul Singh (Aden Troop). Figures posed at entrance to tent. Figures posed on highway. The two Shap�s are on horseback. Figures seated on ground at picnic. They are identified as Evanson, Williamson, Irma Bailey, Ludlow, Vance. Figures seated round food laid out on blanket. Sitters are identified as follows: Lowndes, Miss (or Mrs) Brown, Wilkinson, Lowndes, Irma Bailey. Firemen on parade, with drummers to the fore. Print in poorish condition, with overall spotting.[Albumen print, 370x310mm]. Firemen on parade with climbing equipment. Print in poorish condition, with overall spotting.[Albumen print, 383x311mm]. Five circular head and shoulders portraits in a frame with the crest of the Burdwan State above: Tilak Chand [Ruled] 1744-1771; Tej Chand 1771-1832; Mahtab Chand 1832-1879; Aftab Chand Mahtab 1879-1885; Bijay Chand Mahtab 1887-. Five figures, posed in a row. Some of these figures also appear in print 444. Five figures seated in wicker chairs, identified as follows: Count de Madre, Theodore Flint, Henry Brougham, General Pritam Singh, Flag Lieut Wilson. Five officers posed in front of a bungalow. J.H.E. Reid is seated on the left. The man seated on the right is identified as 'Stephenson' in print 25. Five women, posed with golf clubs and cup. Laura Buckingham (later the wife of Edmund Hunt) stands second from the right. Formal durbar group, with Sambhu Singh, Maharana of Udaipur, seated with the Political Agent John Pigott Nixon. British officers are seated at the left of the group, the Maharana's courtiers and officials at the right. Formal European group portrait, sitters posed in front of the verandah of an unidentified building. No identifications supplied. Formal full-length seated portrait. Duplicate at Photo 1/22 (48). Formal full-length standing portrait, signed 'Krishna'. Formal group, all named 'Phyllis Barlee (Bridesmaid), Rev Canon Heaton, Margaret, Peter Ashburner, 7th Fusiliers (Best Man), Self, Margaret Waddy, Rev Pat Waddy, Lord Bishop of Bombay'. Formal group, posed in front of unidentified building, with some identifications written in pencil on print surface. The following sitters are identified: Dermont Campbell Barty, Mrs G. Barty, Phelps, Carstairs, Mrs Sladen, Charles Beaupr� Bell Clee, Ann Dow, Hugh Dow, Sir Godfrey Davis, Rosemary Clee, Joseph Maurice Sladen, Mrs Carstairs.[Gelatin silver print, 285x202mm]. Formal group, with Cooper and Findlay seated with Indian staffin front of the verandah of an unidentified building. Dr John Findlay, a medical officer in the British Army, was surgeon to the Viceroy during Lord Dufferin's period of office. Formal group: 'Rt Hon G. Wyndham, MP; Dr H.T. Warren, Vice-Chancr; Hon I. Grenfell, Page; C[urzon]; R. Curzon, Page; Sir W. Anson, MP, Warden of All Souls; Hon F.R. Moor, Premier of Natal'. Formal group. T.W. Barnard is marked with a blue cross. Formal group at the opening of the Lower Bari Doab Canal. Formal group includes the Viceroy and staff, the Agent to the Governor-General in Rajputana and the Resident of Bharatpur. All named as follows: 'Cap Y. Buller, ADC; Col Fenn; Mrs Clogstoun; Mr Clogstoun; W.R. Lawrence; Major Drake Brockman; Cap Minchin; Cap B[aker] Carr; Mrs Stratton; A.H. Martindale, AGG; MVC [Lady Curzon]; V[iceroy]; Mrs Martindale; Major Stratton'. Formal group in front of hospital; Sir Montagu and Lady Butler in centre.[Gelatin silver print, 290x233mm]. Formal group in uniform. The key beneath the print identifies the sitter as follows: (front row, seated, left to right): G.H. Gilmore, T.L. Ovens, F.C.S. Samborne-Palmer, P.C. Scudamore, W. De L. Passy; (back row, standing): J.A. McGilley, G.K. Mitchell, H.F. Gillmore, D.R.B. Gillespie, Sajjan Singh, O.K.E. Jesty. Formal group of British Army officers, with Biddulph seated in the centre. Formal group of British army officers. The identified figures are General Samuel James Browne (1824-1901), General Sir Herbert Taylor Macpherson VC ( 1827-1886), General John Adams Tytler (1825-1880), General Sir Hugh Henry Gough (1833-) and General Frederick Ernest Appleyard (1829-1911). No. 73 in Burke catalogue of Afghan War views. Formal group of Hon. Noel and Mrs Shore, with uniformed police officers. Formal group of Indian army officers and NCOs at Dera Ismail Khan. No identifications supplied. P.C. Scudamore is seated 2nd from right, front row. Formal group of Indian policemen. Formal group of officers, two women and uniformed men. Figures identified in the front row are Mr P.D. Graham, Mrs Darling, Mr G.K. Darling (Collector), Hon. Noel and Mrs Shore. Formal group of police officers outside a bungalow. Named as follows: 'Sdr Gopal Menon; Jdr Velu Nayar; Sdr Anandan; Jdr Sukumaran; Jdr Narayana Menon; Colebrook; Keene; Wilkes; Skinner; Happell; Sweeney; John; Charsley; Kearnes; Sdr Krishna Panniker; Jdr Parameswara Nayar; Jdr Kunhi Rama Nayar'. Formal group of seated dignitaries, probably in the Durbar hall of the palace. Amar Singh is seated two to the right of Barnes. Occasion unknown. Formal group of Sir Donald Mackenzie Wallace (Viceroy's Private Secretary) and staff on the verandah of Viceregal Lodge. Formal group of the commanding officers of the three presidencies and their staff. Seated at left is Sir Donald Martin Stewart (Commander-in-Chief Bengal), standing to his right is Sir Frederick Sleigh Roberts (Commander-in-Chief Madras), and seated at right Sir Arthur Edward Hardinge (Commander-in-Chief Bombay). Duplicate at Photo 752/16 (74), where the remaining officers are identified as follows (left to right): G. Haines, Boyce Combe, Pole Carew, Neville Chamberlain, Ian Hamilton. Formal group of the commanding officers of the three presidencies and their staff. Seated at left is Sir Donald Martin Stewart (Commander-in-Chief Bengal), standing to his right is Sir Frederick Sleigh Roberts (Commander-in-Chief Madras), and seated at right Sir Arthur Edward Hardinge (Commander-in-Chief Bombay). The remaining officers are identified as follows (left to right): G. Haines, Boyce Combe, Pole Carew, Neville Chamberlain, Ian Hamilton. Duplicate at Photo 473 (30), where the date is supplied. Formal group of the Viceroy, some family members and staff, posed on the verandah of the newly-completed Viceregal Lodge. Lord and Lady Dufferin are seated in the centre, with Sir Donald Mackenzie Wallace and Lady Helen Blackwood at the left. Major Harry Cooper is seated at the right of the group. Formal group of the Viceroy, staff, provincial governors and wives, taken in the garden in front of the entrance of Viceregal Lodge. Formal group of three British military officers, from left to right, Philip Cowie Scudamore, Frederick Carey Stukeley Samborne-Palmer, Thomas Leslie Ovens. Formal group photograph, mounted on card with letterpress title as above and indentifying key as follows: (seated on ground): Baij Nath (1102); Jogindar Singe (95); Sher Mohd (654); Gurbachan Singh (261); H.C. Tara Singh (999); Nawab Khan (653); Mohd Sharif (223); Ali Mohd (726); (seated on chairs): S. Gurbachan Singh (S.I.); Mr W. Bwye (R.I.); P.B. Ray I.P. (A.S.P.); H.D.M. Scott I.P. (S.P.); Mr S.C. Terry (D.S.P.); Qazi Ata Mohd (L.O.); H.C. Ali Mohd (C.D.I.); (3rd row): H.C. Malik Habib Khan (1000); Abad Ali (611); Dwarka Dass (302); Saleh Mohd (39); Mohan Singh (188); Karnail Singh (307); Charn Singh (278); Sakhi Hussain (581); Abdul Wahid Shah (683); H.C. Malik Sarwar Khan (165); (2nd row): Mohd Yusaf (1104); Mohd Hussain (93); Khan Mohd (75); Harbans Lall (217); Mohd Hussain (433); Kartar Singh (48); Darshan Singh (185); Sher Mohd (364); Gulbaz Khan (378); Ahmad Baksh (997); (back row): Nishan Ali (7); Vidya Parkash (1197); Dabir Hussain (116); Tarlochan Singh (34); Bhagwan Singh (1211); Sahib Nath (881, Motor Driver); Niaz Mohd (672); Ganga Ram (363); Sher Mohd (87); Nazir Ahmad (4); Kushi Mohd (918); Mohd Ali (498). Formal group photograph, probably taken during Scott's 1904 durbar at Taunggyi, with sitters identified in typescript list beneath print as follows: (Back row) Laihka Sawbwa; Mr Hill; Gantarawadi Sawbwa; Nammekon Myoza; Hsatung Myoza; Nawngwawn Myoza; Loilong Myoza; Mongkung Myoza; Hsamongkham Myoza; Pwela Myoza; Maw Myoza; Pangtara Ngwegunhmu; Mr Browne; (Second row) Nang Hkan Kham; Lady Eleanor Scott; Nang Teptila; Mr George; Mongnai Sawbwa; Sir George Scott; Yawnghe Sawbwa; Momeit Sawbwa; Mrs George; Momeit Sawbwagadaw; Bawlake Myoza; (Front row) Mawson Ngwegunhmu; Pangmi Ngwegunhmu; Namhkok Myoza; Kenghkam Myoza; Mr Greer; Hkun Li; Mawkmai Sawbwa; Kyepogyi Myoza; Mongping Myoza (Kengtung State); Mawnang Myoza. Print 166 was taken on the same occasion. Formal group photograph, with Scott and Macdonald seated in the centre of an unidentified Indian group at Lyallpur (modern Faisalabad). Formal group portrait, almost certainly taken on the same occasion as print 2. A letterpress label beneath the print identifies the sitters as follows: (seated, left to right): Raja of Khandpara, Mr Hoernle, Mrs B. Das, Raja of Daspalla, Miss Sifton, Hon'ble Mr Hubback, Lady Sifton, Raja of Puri, His Excellency Sir James Sifton, Mrs Hubback, Raja of Parlakimedi, Mrs A.K. Bose, Raja Bahadur of Kanika, Mrs M. Ghose, Raja of Parikud; (standing, left to right): Raj Kumar of Kanika, Mahant of Uttarpara, Mahant of Emarmath, A.W. Dixon ICS, Rai Bahadur A.K.P. Sinha, Rai Bahadur, A.K. Bose, Dr J.N. Gupta, Captain Rice, Mr Mansfield, Captain Mudie, Zamindar of Bishnucuttack, Raja of Talcher, Raj Kumar of Parikud, Captain Clarke. Formal group portrait, caption taken from another copy of this print in Mss. Eur. E. 346. In the front row Lord Burnham is seated third from left, Lord Simon fifth from left and Rt. Hon. Vernon Hartshorn third from right. In the middle row Lord Strathcona stands at the right, with Clement Atlee beside him and Colonel Lane-Fox fourth from right. Samuel Stewart stands on the right in the back row. Formal group portrait, caption taken from another copy of this print in Mss. Eur. E. 346. The following figures have been identified: Lord Burnham (seated second from left), Lord Simon (seated fourth from left), Lord Strathcona (standing on left, middle row), Colonel Lane-Fox (second from left, middle row), Rt. Hon. Vernon Hartshorn (fourth from left, middle row), Clement Atlee (standing on left, back row). Formal group portrait, date and location unknown. Formal group portrait, guests include the Nawab of Jaipur.. Formal group portrait, in courtyard of Forest School. Bailey is seated left of centre.[Albumen print, 204x150mm]. Formal group portrait, in front of the verandah of an unidentified house. Formal group portrait, in uniform, mounted on card, with letterpress title and identifying key as follows: (front row, seated): M. Haq Nawaz Khan, Inspector; S.G. Button, Inspector; J.P. Morton, Assistant Superintendent; J.A. Scroggie, Superintendent; R.S.S. Dwarka Nath, DSP; R.E. Aratoon, R. Inspector; K.S. Sh. Barkat Ali, Inspector; Pt. Shamboo Nath P.I.; (middle row, standing): H.C. Mustaq Ahmad C.D.I.; L. Hukam Chand S.I.; M. Safdar Khan S.I.; M. Som Nath S.IH.C.; Pt. Ram Rong S.I.; Ch. Ali Ahmed S.I.; Ch. Fazal Din S.I.; Ch. Abdul Majid S.I.; K. Rahmat Khan S.I.; S. Gian Singh S.I.; (back row, standing): Sgt. A.D. Pyster; Ch. Shahab Din A.S.I.; Q. Atta Mohd L.O.; K. Zulfiqar Khan S.I.; S. Hardip Singh S.I.; Sgt M. Smith. Formal group portrait, in uniform, mounted on card with letterpress title as above and key identifying sitters as follows: (front row, seated in chairs): Mr Blyth (Inspt.); Rana Jahan Dad Khan (City Inspt.); Z.H. Price (Hdr. Inspt.); K.S. Mirza Mod Baqar (D.S.P. Sadar); S. Bishen Singh (D.S.P.T.T.); Balbur Singh Esq (I.P.); H.D.M. Scott Esq (I.P.); C.H. Fare Hall Esq (I.P.); Mehta Milkhi Chand (P.D.S.P.); B. Gurandittamall (P.I.); S. Harcharan Singh (D.I.); Khan Mohd Ishaq (C.I.A. Inspt); W, Bye (Inspt.); (3rd row, S.I.'s): S. Dyal Singh; L. Gian Chand; B. Gurandittamal; S. Gurbhagat Singh; S. Tuffail Hussain Shah; Sh. Mohd Sharif; Ch. Abdul Hamid; Ch. Sikandar Hayat Khan; Mr C.H. Harrison; S. Roshan Shah; S. Gurbachan Singh; Ch. Kishen Chand; L. Hans Raj; S. Mohd Hussain Shah; Ch. Gurdas Mal; S. Gurbachan Singh; S. Gurdial Singh; (2nd row, S.I.'s): S. Shah Shajat; Ch. Said Ullah Khan; S. Prithi Pal Singh; L. Suraj Parkash; S. Sunder Singh; S. Uttama Singh; Sh. Mohd Shaffi; Sh. Mubarak Ali; S. Gian Singh; Sh. Abdul Karim; S. Hardial Singh; S. Gursaran Singh; Q. Atta Mohd; (1st row, A.S.I.'s): S. Attar Singh; S. Joginder Singh; Ch. Hari Singh; Ch. Hussain Bux; Sh. Mohd Amin; Ch. Bahadur Khan; Ch. Mohd Tuffail; S. Autar Singh; Ch. Ram Sarup; S. Pritam Singh. Formal group portrait, in uniform, of Indian Police officers. A handwritten key beneath the print identifies the sitters as follows: Needham, Sharpe, Lynch-Blosse, Herapath, Haplam, [?]d'Maule Cole, Barnard, Smith, Trotter, Page, W.C. Edwards, Baslehurst, Stewart, Lang, Rashid Khan, Jacob, McDonald, Healey, Wilson, Rushton, Griffith, Jenkins, Boyd, [?]Shillidy, Bailey, Leverett, 'La Bombardi�re', Shupart Ali. Formal group portrait, in uniform, of Indian soldiers of the Queen's Own Guides, probably photographed on the North-West Frontier. Formal group portrait, in uniform, posed beneath an awning. The accompanying sheet supplies the following identifications: front row: J. Starky (3rd from left), F.C. Isemonger (6th from lef), G.H.R. Halland (7th from left), T.F. Croke (9th from left), N.L.K. Wilson (11th from left), A.W. Mercer (13th from left); second row: L.L. Tomkins (8th from left), F.R.L. Crawford (5th from right); third row: S.E. Wallace DIG (2nd from left), Sir Edward Lee French (8th from left), Sir Edward Henry, Commissioner, Metropolitan Police (9th from left), Sir Charles Cleveland, Director of Criminal Intelligence, Home Department, Government of India (10th from left); fourth row: H.W. Waite (5th from left), B.B. Howell (8th from left), Hector Denys (9th from left); back row: C. Macpherson (11th from left), John Misick (second from right) Formal group portrait, in uniform, showing H.D.M. Scott seated with Indian Police and Civic Guard officers. Print mounted on card with letterpress title as above and key identifying sitters as follows: (seated): Nihal Singh Bar-at-Law (P.C.); Bawa Gurbaksh Singh B.A., LL.B., Town Commander, Civi Guard; G.M. Akmal (P.C.); Balbir Singh Esq J.P. (Asst. Supdt. Police); S. Patti (P.C.); H.D.M. Scott Esq. I.P. (Supt. Police); S. Narain Singh, District Commander, Civic Guard; (standing): Inderjit Singh Gyani (P.C.); S.A. Baksh B.A., LL.B. (P.C.); Gopal Dass Mehra (P.C.); Bhanu Datta (P.C.); G.A. Khan (P.C.); M.N. Mukerji (P.C.); Gulam Hussain (P.C.). Formal group portrait, in uniform, taken at Arkonam (Arakkonam). The only two identified figures are General Straubenzie and Captain Wilkieson. Formal group portrait, in uniform, with J.A. Scroggie seated in centre. Other two figures identified are Gurdial Singh and S.B. Narindar Singh. The only female in the group (seated third from right) is tentatively identified as Mrs Liddell, inspectress. The accompanying note suggests that this portrait was probably taken in the Railway Police Lines at Lahore. However, the photographer's signature, which is unclear but appears to read 'Khannas', is followed by the letters 'LDH', which may stand for Ludhiana. Formal group portrait, in uniform. An accompanying key identifies the following figures, from l. to r.: Jemander Shaik Cassim, native ADC; ---; Dr Close; ---; Sir Philip Wodehouse; Captain Jervoise; Captain Fawkes; ---. Formal group portrait, in uniform. Maharaja Sir Ganga Singh is seated centre, with Major H.V. Cox on the left and Thakur Dip Singh on the right. Second copy neg at B.6138. Formal group portrait, in uniform. Parsons seated at right. Formal group portrait, in uniform. Print in poor condition, with tears. Formal group portrait, in uniform. Print mounted on card with letterpress identifying key to sitters beneath: (seated left to right): F.B. Stockwell; H.J. Thom; R.N. Marsh-Smith; E.D. Smith; A.G. Phillips; H.A. Inglis; D. Pilditch; S. Abad Ahmad Khan; D.E. Wingfield; (middle row): V. Whitehouse; A.R. Khan; S.J.L. Olver [?Oliver]; I.M. Hurrell; R.S. Pt. C.B. Pande; E.M. Phillips; S. Rafiq Ahmad; M.A. Zafar; Kr. Umed Singh; (back row): Th. Hukum Singh; M. Bashir Ali; L. Smith; M. Nurul Hassan; S. Dan Singh. Formal group portrait, in uniform. The following British (and one Indian) officers are identified: Wood; Pugh; Dhillon; Ekins; Garrod; Slessor; Dease; Hale; Peddle. Formal group portrait, in uniform. The photograph is taken in front of the same building as print 31, probably either at Peshawar or Sabathu. The following identifications are supplied: Cr. Sergt. McLeod, Sergt. Tucker, Cr. Sergt. Daller, Sergt. Major Pepper, Colonel C.L.Harvey, Qr. Mr. Sergt. Mankelow(?). Formal group portrait, in uniform and wearing the rosette of the Croix de Guerre on their topees. The only two identified sitters are Bandsergeant King and Bandmaster G.A. Herniman. Formal group portrait, mounted on card, sitters mainly Indian. The only identified figure is Sir Denys Pilditch, seated second from left. Formal group portrait, mounted on card with letterpress title as above. A letterpress key beneath the print identifies the sitters as follows: (seated on ground): B. Shankar Lall Sinha (Acct.); Pt. Hoti Lall Sharma (S.I.D.I.S.); B. Abnashi Sahai (Head Clerk); (front row, seated): S. Diwan Singh (P.S.I.); Pt. Tara Chand (C.I.); M. Abdul Rauf (C.I.); M.V. Harris (C.I.); Kharan Singh (Dy.S.P.); D. Pilditch (S.P.); Mrs Pilditch; H.A. Binge (R.I.); M. Musharaf Ali Khan (C.I.); Abdul Wahid (S.I.); Th. Mahindar Singh (P.S.I.); (1st standing row): Th. Ram Kunwar Singh (S.I.); S. Devraj Singh (S.I.); S. Pritam Singh (S.I.); Th. Arjun Singh (S.I.); Th. Sheobaran Singh (S.I.); Pt. Sheobachan Lall (S.I.); Th. Raghupal Singh (S.I.); B. Bankat Behari Lall (S.I.); Th. Lal Singh (S.I.); M. Abdul Majid (S.I.); B. Pahlad Singh (S.I.); Pt. Kesho Dutt (S.I.); (2nd row standing): M. Sulaiman Khan (S.I.); Ch. Digambar Singh (S.I.); Ch. Dalel Singh (S.I.); B. Brij Bihari Lall (S.I.); M. Md. Sadiq Ali Khan (S.I.); Th. Lakhan Singh (S.I.); Pt. Jagannath Prasad (S.I.); Th. Vijey Bahadur Singh (S.I.); Sy. Sultan Ahmad (S.I.); M. Sadiq Hussain (S.I.); B. Himmat Bahadur (S.I.); Sy. Siddiq Ahmad (S.I.); (3rd row standing): Q. Inamul Haq (S.I.); Th. Ram Dayal Singh (S.I.A.P.); M. Abdul Hamid Khan (S.I.); Pt. Sarju Prasad (S.I.). Formal group portrait, no identifications. Formal group portrait, no identifications supplied. Formal group portrait, on the verandah of an unidentified building. Sitters identified as follows: (seated, front row): Bishop Fenelly (Madras), Bishop Chevalier (Mysore, d. 1880), Bishop Canoz (Trichinopoly), Bishop Laouenan (Pondicherry). (Back row, standing): Father Joseph Colgan (1824-1911, Roman Catholic Archbishop of Madras from 1886), P�re Gasnier, P�re Dupuis, P�re Renevier.[Albumen print, 178x132mm]. Formal group portrait, posed on the steps of Bombay Town Hall. The company was owned by Kane, Bennett & Co. at this period. Formal group portrait, posed outside the School of Art. Formal group portrait, posed outside the School of Art on the occasion of the departure of Mr Kane for England. The company was owned by Curwen, Kane & Co. at this period. Formal group portrait, possibly of civil servants. Sir James Sifton is seated on the extreme right. Print has been torn in half and repaired. Formal group portrait, possibly photographed at the Mastura Post. Formal group portrait, probably at Peshawar (the photographer's base). Formal group portrait, probably taken at Gajner during two days of shooting. Captain Yarde-Buller, sitting on the left, is holding a shotgun. Individuals are named as follows: '[Unidentified man]; Cap Wigram, ADC; Earl of Suffolk, ADC; Cap B[aker] Carr, ADC; Col Fenn; Cap Hon J. Yarde Buller, ADC; Major Minchin, Pol Off; V[iceroy]; Maharaja of Bikaner; MVC [Lady Curzon]; Col Hon E. Baring, Mil Sec; Lady U. Duncombe '. Formal group portrait, showing: J.C.E. Bowen (Under Secretary), Mrs Bowen, Mr W. Cranston (Personal Assistant), Mrs Wakefield, Harold Wilberforce-Bell, Margaret Wilberforce-Bell, Mr E.B. Wakefield (Secretary). Formal group portrait, signed 'Baber Shum Shere', with key beneath print identifying sitters as follows: (on ground): Lt. Davy; Capt. G. Mardan; Capt. Khagendra; Lt.-Col. Gumbir; Capt. Narsing; Lt.-Col. Chundra; Lt. Barker; Capt. Scott. (Seated): Col. Indra; Maj.-Genl. T.E. Scott; Maj.-Genl. Shere; Genl. Sir A. Barrett; Genl. Sir Baber; Sir C.C. Monro, Commander-in-Chief in India; Genl. Padma; Lt.-Genl Sir E. Altham; Genl. Tez; Lt.-Genl. Sir H. Hudson; Lt.-Col. Porteous. (3rd row): Comr. Chapman; Col. Ghana; Capt. Johanson; Lt.-Col. Shum Shere; Capt. Rogers; Lt.-Col. Bhuban; Capt. Weallans; Lt.-Col. Dumber; Lt. Feagon; Lt.-Col. Bhairub. (Back row): Lt.-Col. Madan; Capt. Carpendale; Lt.-Col. Pratap; Capt. Dent; Lt.-Col. Jit; Capt. Kemp; Lt.-Col. Molesworth; Maj. Baker; Maj. Uttam.[292x195mm]. Formal group portrait, some sitters holding musical instruments. Captions notes read: 'The five senior young ladies are:- 1. A proficient in Muhammadan and Karnataka music; was selected to instruct H.H. the Maharani of Baroda and zenana ladies. 2. Is a first in Arts, Madras University, and employed as mistress in the College. 3. Kindergarten teacher. 4 and 5 are matriculates still continuing their studies. The other young ladies are pupils attending the higher classes of the College.' Second copy neg at B.22893. Duplicate at Photo 2/9 (11). Formal group portrait, taken on an unidentified occasion. The majority of the sitters are senior police officers and the group was presumably taken at a police conference of some sort. The letterpress key pasted onto the mount identifies the sitters as follows: (front row, seated): Sir Charles Chitham C.I.E., I.G., C.P.; Sir John Ewart C.I.E., D.I.B.; Sir Henry Craik K.C.S.I., I.C.S., Home Member; H.H. the Viceroy, Lord Linlithgow; R.M. Maxwell C.S.I., C.I.E., I.C.S., Home Secretary; J.G. Laithwaite C.I.E., Private Secretary to the Viceroy; D. Healy, I.G., Sind; (middle row): C.W.E. U'ren D.C., S.B., Bombay; G.A. Shillidy C.I.E., I.G., Bombay; P.C. Bamford C.I.E., D.D.I.B.; J.T.M. Bennett C.B.E., M.C., D.I.G., C.I.D., Punjab; C.T. Brett C.I.E., D.I.G., Bihar; H.O. de Gale I.G., N.-W.F.P.; E.A.O. Perkin I.G., Orissa; F. Sayers I.G., Madras; J.C. Farmer I.G., Bengal; (back row): B.G. Prothero-Thomas D.I.G., C.I.D., United Provinces; L.B. Gasson, D.I.G., Madras; A.G. Scott D.I.G., Central Provinces; C.E. Joyce, Assistant to I.G., C.I.D., N.-W.F.P.; R.C. Morris D.I.G., C.I.D., Burma; R.C.R. Cumming D.I.G., C.I.D., Assam; M.F. Cleary C.I.O. Calcutta (Secretary); H.W. Hale O.S.D., I.B., (Secretary). Formal group portrait, taken on the verandah of Government House, Rangoon. Lord Simon is seated centre, with Lord Burnham third from left and Rt. Hon. Vernon Hartshorn third from right. Colonel Lane-Fox stands third from right, second row. Clement Atlee stands at the left of the second row from the back, with Lord Strathcona at the right of the same row. Formal group portrait, taken to commemorate the handing over of charge of the Lakhimpur-Kheri District from L.C.F. Robins to Sir Denys Pilditch. Portrait mounted on card and inscribed, 'With best regards, from the Kheri Police, Shahab Uddin'. Shahab Uddin, L.C.F. Robins and Sir Denis Pilditch are the only figures identified in the accompanying key. Formal group portrait, the party gathered under a decorative.shamiana. The figures are identified as follows: (back row, l. to r.) Maj (later Sir) Duncan George Mackenzie; Horace Watson Nicholson; Maj R. Foster, Indian Army; Lieut-Col F.A. Jackson; Francis Holy Burkitt OBE; Col Rivers Berney Worgan CSI CVO DSO; Mr G. Gemmell; Lieut-Col G.M. Ayscough; Capt J.F.B. Combe ADC; Capt D.B. Daly ADC; Mr S. Walker; (middle row, seated, l. to. r.) Lieut-Col (later Sir) Thomas John Carey-Evans MC FRCS IMS; Maj (later Lieut-Col Sir) George Drummond Ogilvy; Col Alfred Beckett Minchin; the Marquess of Reading; the Nawab of Bahawalpur; Sir Geoffrey de Montmorency KCVO CIE ICS; Maj Nawab Malik Talib Mehdi Khan; Ernest Rudolph Foy; (front row, l. to r.) Maj Edwards CIH; J.O. Waterhouse. Formal group portrait, the Prince of Wales seated with the Governor of Bengal the Earl of Ronaldshay, other British officials and Indian staff. Formal group portrait, the sitters identified as follows: (front row, left to right), Sir William Duke; the Earl of Donoughmore; Right Hon. Edwin S. Montagu MP, Secretary of State for India; Lady Ronaldshay; the Viceroy, Lord Chelmsford; Lady Chelmsford; The Earl of Ronaldshay (Governor of Bengal); Mr Charles Roberts MP; (middle row, left to right), Mr W.R. Gourlay; ADC; ADC; Lt Col Austen Smith; John Moffey; Lt Col Ralph Verney; ADC; ADC; ADC; (back row, left to right), T. Sloan; G.E. Franey; Captain Baring ADC; Captain Holland-Hibbert ADC; Capytain Lord Carnegie ADC; ADC; ADC; ADC. Formal group portrait, the sitters identified as follows: front row, seated left to right: Mr Trevor, Mr Bayley, Mr Seton Karr, Sir Barnes Peacock (Chief Justice), Mr Morgan, Mr Loch; Back row, standing: Mr Macpherson, Mr Clover, Mr E. Jackson, Mr Phear, Mr Steer, Mr Sambhoonath, Mr Kemp, Mr Campbell, Mr Norman.[Albumen print, 213x140mm]. Formal group portrait, with accompanying letterpress sheet identifying sitters as follows: (seated): Sir Ernest Bennett, Sir Mahummad Yakub, The Marquess of Dufferin and Ava, Mrs Subbarayan, Sir John Kerr, The Marquess of Lothian (Chairman), Sir Sunder Singh Majithia, The Hon. Mary Pickford, Sir Zulfiqar Ali Khan, Major J. Milner, S.B. Tambe; (standing): Rai Sahib D.N. Maitra (Superintendent), A.J. Parker (P.A. to the Chairman), T.C.S. Jayaratnam ICS (Joint Secretary), J.G. Laithwaite (Joint Secretary), R.R. Bakhale, Hon. E. Miller, Khan Bahadur Maulvi Azizul Haque, R.A. Butler, Dewan Bahadur A. Ramaswami Mudaliyar, Dr B.R.R. Ambeskar, S.P. Thompson ICS (Assistant Secretary), I.M. Stephens (Publicity Officer), F.H.T. Ward (Assistant Secretary).[Platinum print, 286x194mm]. Formal group portrait, with a few identifications supplied on the reverse. This print is incorrectly dated 1926. Duplicate at Photo 348 (7), which gives a fuller list of sitters, as follows: (back row, l. to r.): E.A. Hopkins; O'Neil Shaw; C.H. Everett; W.K. Manger; Ghulam Ahmad; F.A.T. Heron; J.A. Scott; J. Ryall; Pritam Singh Brar; E.W. Wace; H.G. Russell; P.C.D. Beaty; G.B.S. Prance; Newman; H.D.M. Scott; (middle row, standing): H.W. Hale; Sudarshan Singh; unknown; Chuni Lal; A.C. Fryer; unknown; Sant Singh; Aitizaz-ud-Din; unknown; unknown; Bakhtyawar Ali; Price; H.W. Waite; Abdul Qayyum Khan; (middle row, seated): G.T.H. Harding; V.W. Smith; J.Slattery; J.M. Ewart; Glascock; Cocks; J. Adam; Hamidullah; F.W. Toms; J.A. Scroggie; A.F. Senior; (front row, seated on ground): unknown; Brain; Rouse; unknown. Formal group portrait, with British officers identified as follows: Lieut. H.A. Barnes, Lieut. D.J.C. Wiseman, Capt. F. Entwistle DSO, MC, Lieut. Col. J. Clementi, Capt. A.J.L. Pritchard, Capt. Pickering, Capt. E. Parker. Formal group portrait, with Field-Marshal Lord Kitchener (Commander-in-Chief, India) and Habibullah Khan, Amir of Afghanistan, seated in the centre. Formal group portrait, with Frederick Marshman Bailey and Maharaja Juddha Shamsher Jang in the centre. The figures in the group are identified in a pencilled note on the mount as (right to left): Kaiser, Mohun, Jooda, E.B., Padma, Baber, Smith, Marchman Singh.[Gelatin silver print, 294x219mm]. Formal group portrait, with General Roberts seated in durbar at the centre of a group of sirdars. Duplicate at Photo 430/2 (67). Formal group portrait, with key beneath print identifying sitters as follows: Captain J.G. Flewett; Jemadar Kartar Singh; Subedar Phagga Singh IDSM; Jemadar Kirpa Singh; Jemadar Puran Singh; Jemadar Gurmukh Singh; Jemadar Anokh Singh; Jemadar Harnam Singh; Jemadar Jodh Singh; Captain E.P.F. Pearse; Jemadar Arjan Singh; Jemadar Mehar Singh; Jemadar Darbara Singh; Subedar Jiwan Singh II; Granthi Attar Singh; Jemadar Bhagwan Singh; Subedar Gurmukh Singh; Subedar Pala Singh; Lieut. C.R. Wright; Captain F.R.L. Goadby MBE; Subedar Mall Singh; Captain F.E.M. Clarke; Subedar Major Daya Singh; Major A.W. Pulverman; Subedar Fauja Singh; Captain M.D. Hindle; Subedar Bhagat Singh; Captain J.A. Salomons. Formal group portrait, with key identifying sitters as follows: (front row, left to right), Sir William Vincent; The Earl of Donoughmore; Sir Edwin Montagu, Secretary of State for India; Sir William Duke; Mr B.N. Basu; Mr C.H. Kisch; (back row, left to right), Mr G.E. Franey; Mr Alan Parsons; Mr Charles Roberts, MP; Mr Malcolm C. Seton; Mr William S. Harris; Mr Frank C.T. Halliday. Formal group portrait, with letterpress caption and identifying key on mount. Identifications as follows: (seated on ground in front): Sodhi Auttur Singh, Sodhi Mohindar Singh, Sodhi Pushpindar Singh, Sodhi Katar Singh; (seated, middle row): S.F. Stewart, Mrs Abraham, Lord Burnham, Lieut. Sodhi Harnam Singh, Mrs Hearn, Hon. E. Cadogan, V. Connolly, T.F. Cooke OBE; (standing, back row): M. Mohammed Hussain B.A., M. Nazir Ahmad B.A., L. Gopal Dass D.S.P., Dewan Gokal Chand, B. Harmindar Singh Bedi, and two unidentified figures. Formal group portrait, with letterpress key identifying sitters as follows: (first row, seated, l. to r.): Sir Dinshaw Wacha; Rai Sita Nath Ray Bahadur; Khan Bahadur Mir Asad Ali; W.M. Hailey; Sir William Vincent; Sir Claude Hill; H.E. the Commander-in-Chief; H.E. the Viceroy (Viscount Chelmsford); Sir George Lowndes; Sir George Barnes; Mr Muhammad Shafi; S.N. Banerjee; Maharaja Sir Manindra Chandra Nandi of Kasimbazar; Sir Gangadhar Chitnavis; Sir Thomas Holland; (second row, standing): B.C. Allen; Sir Zulfikar Ali Khan; Maing Bah Too; Raja Sir Rampal Singh of Kurri Sudauli; Major Malik Sir Umar Hayat Khan; H. Sharp; Sir John Wood; Major-General Sir Alfred Bingley; Sir William Marris; Sir Arthur Anderson; Raja of Kanika; C.A. Barron; R.A. Maut; E. Burdon; (third row): H. Moncrieff Smith; B.N. Sarma; W.E. Crum; K.V.R. Ayyangar; A.H. Ley; Major-General Sir Sydney Crookshank; Nawab Saiyed Nawab Ali Chaudhri; N.F. Paton; Rai Sahib Seth Nath Mal; H.R.C. Dobbs; Major-General W.R. Edwards; G.R. Clarke; H. McPherson; A.P. Muddiman; (back row): N. E. Majoribanks; K.V. Reddi; Lalit Mohan Chatterjee; E.M. Cook; K.C. De; L.F. Morshead; G.F.S. Christie; G.S. Khaparde; A.E. Nelson; Khan Sahib Shah Nawaz Bhutto; Haji Chaudhuri Muhammad Ismail Khan; P.J.G. Pipon; C.A. Kincaid; C.F. de la Fosse; V.J. Patel; H.A. Casson. Formal group portrait, with letterpress key on mount identifying sitters as follows: Khazan Chand; Abdullah Shah; Samand Khan; Altaf Hussain; Jalal Din Khan; Ghulab Shah; Khushal Singh; Kalyan Das; Mohamad Ayub Khan; Nand Lal; Gulam Rasul; Roshan Shah; Ghulam Mohayy-ud-din; Bhim Sen; Mohamad Nowaz; Mohamad Mussa; Aziz-ud-din Khan; Bishamber Dass; Ghulam Mohamad; Mohamad Sharif; Shamas Din; Rab Niwaz Khan; Fateh Mohamad; Sudarshan Singh; Miss Scott Patten; Mrs D. Gainsford; D. Gainsford; Jagdish Datta; Vishva Nath. Formal group portrait, with Lord and Lady Curzon at centre. Formal group portrait, with Sir Ganga seated seated in the centre. Formal group portrait, with Sir Henry Dobbs seated centre. Faded print.[Silver printing-out paper, 85x51mm]. Formal group portrait, with sitter arranged behind the cup and a pair of crossed rifles. Print mounted on card with letterpress title as above and key identifying sitters as follows: (seated on ground): Bashir-ud-Din (F.C.); Fateh Khan (F.C.); (middle row, seated): S. Balbir Singh I.P. (Asst.Supt. of Police); H.D.M. Scott I.P. (Supt. of Police); Mirza Mohd. Zaman (Lines Officer); (back row, standing): Saidullah Khan (F.C.); Teja Singh (F.C.); Bakhshish Singh (F.C.); Nur Badshah (H.C.); Har Lal (F.C.); Balwant Singh (F.C.). Formal group portrait, with sitters identified as follows: Lord Willingdon, Lady Monro, Lady Willingdon, General Monro, Major W.W. Muir, Captain A.B.H. Bridges.[Gelatin silver print, 288x236mm]. Formal group portrait, with sitters identified in key beneath print as follows: Jemadar Anokh Singh; Jemadar Bhagh Singh; Captain E.P.F. Pearse; Jemadar Kartar Singh; Major C.G. Smith; Subedar Basant Singh; Lieut. C.R. Wright; Jemadar Ala Singh; Jemadar Kirpa Singh; Major A.H.F. Hogge; Subedar Major Narayan Singh; Lieut. Colonel S.W. Finnis OBE; Subedar Mall Singh; Major H.D. Dawes; Captain J.G. Flewett. Formal group portrait, with sitters identified in key beneath print as follows: Major M.S. Teversham MC; Captain E.L. Wilson-Haffenden; Jemadar Ala Singh; Lieut. E. Johnson; Jemadar Dharm Singh; Captain C.H. Price; Jemadar Rur Singh; Captain H.N. Pirouet; Jemadar Sham Singh; Lieut. O.B.M. North; Captain M.F.F. Hurly; Jemadar Bhag Singh; Jemadar Basakha Singh; Jemadar Budh Singh; Jemadar Karam Singh; Jemadar Lall Singh; Subedar Sohan Singh II; Jemadar Achhar Singh; Subedar Basant Singh; Subedar Ujjagar Singh; Subedar Kirpal Singh; Major H.D. Dawes; Dubedar Jiwan Singh I; Major A.H.F. Hogge; Hony. Lieut. Sawan Singh; Major N.S. Taylor; Subedar Sohan Singh I; Major V. Cambier; Subedar Sunder Singh; Captain D.R. Critchley. Formal group portrait, with the following identifications supplied: (front row, seated), F.W.D (Sir F.W. Duke, Viceroy's Private Secretary), D. [the Earl of Donoughmore], E.S.M. [Edwin Samuel Montagu], Lady Ronaldshay, H.E. [Lord Chelmsford], Lady Chelmsford, Govr. of Bengal [Lord Ronaldshay], C.H.R.[C.H. Roberts M.P.]; (Middle row), W.R. Goulay, J.A. Denny, H. Austen Smith, J.L. Maffey, R. Verney, ADCs to the Governor of Bengal, Captain H.G. Vaux [Military Secretary to the Governor of Bengal]; (back row), T. Sloan, G.E.F. [G.E. Franey], E.B. Baring, W. Holland Hibbert, Lord Carnegie, ADCs to the Governor of Bengal.[Gelatin silver print, 336x189mm]. Formal group portrait, with the following identifications supplied: (Front row, seated), Private Secy. to Govr. of Madras [T.E. Moir]; D. [Earl of Donoughmore]; Mrs Money; Alan L.R. Parsons; H.E.M. Martineau; Lady Pentland; H.E. [Lord Chelsmford]; Lord Pentland [Governor of Madras]; E.S.M. [Edwin Samuel Montagu]; Surgeon to Govr. of Madras [F.F. Elwes]; wife of surgeon to Govr. of Madras; F.W.D [F.W. Duke]; Capt. Denny [J.A. Denny]; (Back row), Mily. Secy. to Govr. of Madras; ADC to Govr. of Madras; Col. Austen Smith; ADC to Govr. of Madras; J.L. Maffey; M.C.S.; Capt. Baring; ADCs to M. Martineau; C.H.R. [C.H. Roberts]; Col. Verney; F.C.T.H. [F.C.T. Halliday]; Capt. Holland-Hibbert.[Gelatin silver print, 285x201mm]. Formal group portrait.[284x229mm] Formal group portrait.[Gelatin silver print, 137x88mm]. Formal group portrait. Duplicate at Photo 430/10 (4), which supplies date for the taking of the photograph. The accompanying key identifies the sitters as follows: '1. Captain the Hon'ble John Yarde-Buller; 2. The Hon'ble Dudley Marjoribanks; 3. Captain K. Wigram; 4. Colonel Weston-Jarvis; 5. Mr Cowie; 6. Captain Smallwood; 7. Colonel Fenn; 8. Captain Holden; 9. The Duke of Portland; 10. Captain the Hon'ble W. Stanley; 11. Captain Farquar; 12. Colonel Herbert; 13. Surgeon-Major Beevor; 14. Major Dick; 15. Mr Miller; 16. Sir J. Dickson-Poynder; 17. Captain Armstrong; 18. Colonel the Hon'ble C. Harbord; 19. Major Drummond; 20. Captain Knox; 21. Mr E.T. Reed; 22. Lord Crewe; 23. The Duke of Marlborough; 24. Mr Seaman; 25. Lord Elcho; 26. General Von Wachter; 27. Major the Hon'ble C. Bingham; 28. Mr Maguire; 29. Baron Massenbach; 30. Major Lee; 31. Sir Maurice Fitzgerald; 32. Sir Robert Mowbray; 33. Mr Macpherson; 34. Mr Risley; 35. Sir Denzil Ibbetson; 36. Mr Baker; 37. Mr Tennant; 38. Colonel Leslie; 39. Bishop of Calcutta; 40. Captain Dashwood; 41. Mr W. James; 42. Major the Hon'ble L. Byng; 43. Captain Lindsay; 44. General Sir Edmund Barrow; 45. General Sir Edmond Elles; 46. Mr Preston; 47. Captain Dennis; 48. Mr Raleigh; 49. Mr Iremonger; 50. Major Berger; 51. Major Grimston; 52. Major Weallens; 53. Sir George Taubman-Goldie; 54. Mrs Macpherson; 55. Miss Baker; 56. Miss Ibbetson; 57. Lady Scott-Moncrieff; 58. Lady Barrow; 59. Mrs Baker; 60. Mrs James; 61. Mrs Fenn; 62. Mrs Drummond; 63. Lord Lamington; 64. Lady Dickson-Poynder; 65. Sir Walter Lawrence; 66. Mrs Coplestone; 67. Lady Ibbetson; 68. Miss Coplestone; 69. Lord Wolverton; 70. Miss Coplestone; 70a. Lord Durham; 71. Mrs Leslie; 72. Miss Grenfell; 73. Miss Arundel; 74. Miss Teagne; 75. Mrs Smallwood; 76. Mr Arundel; 77. Mrs Miller; 78. Lady Eleanor Byng. 79. Miss Mure; 80. Mrs Lindsay; 81. The Hon'ble Mrs C. Bingham; 82. The Hon'ble Mrs D. Marjoribanks; 83. Lady Lonsdale; 84. Mrs Arundel; 85. Mrs Craigie; 86. Lady Elles; 87. Lady Lawrence; 88. The Hon'ble Mrs C. Harbord; 89. The Hon'ble Mrs Maguire; 90. The Hon'ble Lady Miller; 91. The Duchess of Marlborough; 92. HRH the Duke of Connaught; 93. HE the Viceroy Lord Curzon; 94. HRH the Duchess of Connaught; 95. HRH the Grand Duke of Hesse; 96. HE the Lady Curzon; 97. The Hon'ble Cynthia Curzon; 98. The Hon'ble Irene Curzon; 99. The Duchess of Portland; 100. Lady Crewe; 101. Lady Wolverton; 102. Mrs Tennant; 103. Mrs Leiter; 104. Sir Richard Baker; 105. Sir Colin Scott-Moncrieff; 106. Captain Adam; 107. Colonel the Hon'ble E. Baring; 108. Captain Baker-Carr; 109. Captain Jones-Mortimer; 110. Captain Keighley; 111. Lord Lonsdale; 112. Lord Errington; 113. Major Poynter; 114. Captain C. Wigram; 115. Captain the Hon'ble R. Lindsay'. Formal group portrait. Four of the sitters are marked on the print and identified on the reverse as the 'Brothers White'. A further note reads 'Mostly men from Harrods, London...all good swimmers and hockey players.' [Gelatin silver print, 138c86mm]. Formal group portrait. In the front row are seated, left to right: Miss Pelly; unidentified child of Hyderabad royal family; Mrs Barr; Sir Kishen Prasad, Prime Minister; Lady Curzon; Nizam Mahbub Ali Khan; Lord Curzon; Sahib Zada; Colonel Barr (Resident); unidentified Hyderabad official. Formal group portrait. Letterpress key on mount identifies sitters as follows: (front row, left to right): Mr Monk, Col. Burn, Mr Alexander, Mr Marsh, Sir Austen Hadow, Mr Arnould, Mr Fraser, Mr Lawton, Mr Jones; (back row, left to right): Major Temperley, Mr Rawlins, Mr Clarke, Mr Srinivasaiengar, Mr Martin, Mr Lawrence, Mr Boyagian, Mr Mehta, Mr Hunt, Mr Rosenthal. Formal group portrait. Print in poor condition. Formal group portrait. Print in very poor conditions, with portions of image missing. The Battalion Commander Captain H.R. Vaughan (17th Dogra Regiment) is seated in the centre of the group, with Captain H.G.P. Stubbs (14th Punjabi Regiment), Assistant Commandant.[155x107mm]. Formal group portrait. Sir Kameshwar Singh Bahadur is seated centre, with Sir James and Lady Sifton on either side of him. Miss Sifton seated second from right. Formal group portrait. Formal group portrait. Formal group portrait. Formal group portrait. Formal group portrait. Formal group portrait. Formal group portrait. Formal group portrait. Formal group portrait. Formal group portrait. The sitters are identified as follows: (back row, standing, left to right): Zaman Khan (Indian ADC), Captain P. Borwick (ADC), Tony Stocker (ADC), Johnny Johnson (ADC), Charles Duke (ICS, Assistant Private Secretary), Donald Ross (ADC), Allan Noble (ADC), Willie Goschen (ADC); (front row, seated): Colonel H.H. Elliot (IMS, Viceroy's Surgeon), Gilbert Laithwaite (Private Secretary), Lord Linlithgow, Colonel H.H. Stable (Military Secretary), Major W.E. Maxwell (Comptroller).[282x165mm]. Formal group portrait. The sitters are identified as follows: (front row, seated, left to right): Mr Taylor, Manager, Photographic Department; Captn. Gwyn, officer in charge of Photo-Litho Office; Mr F. Vandyke, Manager, Lithographic Department; (back row, standing): Murphy, Assistant Manager, Photographic Department; Mr S. Colquhoun, Assistant Manager, Lithographic Department. Formal group portrait. The sitters are identified beneath the print as follows: front row, seated on ground: Thakur Dip Singh (Special Famine Officer), Mr R.D. Cooper (Private Secretary to Maharaja); middle row, seated: J. Jeoraj Singh (Officer in Charge of Fort, &c., Famine Committee), J. Hari Singh (Council), Major Robinson (Civil Surgeon), Maharaja Sir Ganga Singh (Central Famine Officer), Mr R.W. Clarke (Executive Engineer), Mr H. Horsford (Assistant Engineer), J. Dule Singh (Officer, Court of Wards, Famine Committee); back row, standing: Kaviraj Bhairun Dau (Customs Officer, Famine Committee), Pandit [?]Jasuku Ram (Deputy Revenue Officer), Babu Srindehi Lall (Accounts Officer), Comdt Deren Dayal (Infantry, Assistant Famine Officer). Formal group portrait. The Viceroy Lord Dufferin stands next to the Duchess of Connaught on the right. At the left, Lady Dufferin is seated beside the Duke of Connaught. Formal group portrait (a different family from print 101). Formal group portrait at durbar camp; no identifications supplied. Photograph uncredited, but probably by Bourne & Shepherd.[Silver printing-out paper, 277x171mm]. Formal group portrait in a garden. The sitters are identified as follows: (front row, seated, left to right): P�re Garcier, J. Coadou (Bishop, d. 1890), P�re Chevalier (Bishop of Mysore, d. 1880), Bishop Charbonneau (d. 1874), P�re Jarrige (d. 1890), P�re Bouquet, P�re Bareille, P�re Neveu. (Back row, standing): P�re Vissac, P�re Clemat, P�re Rappart, E. Gasnier (Bishop of Singapore), L. Kleiner (Bishop), P�re Bonnetraine, P�re De Kerizouet, P�re Dessaint, P�re Janssoon, P�re Le F�vre, P�re Cirou, P�re Barr�.[Albumen print, 235x190mm]. Formal group portrait in front of a summer house in the garden of the Dhar Agency House. Lord Curzon is seated in the centre with the young Maharaja of Dhar, Sir Udaji Rao Ponwar. Other identified figures in the group are the Viceroy's ADCs Captains C. Wigram and R.G.T. Caker-Carr (standing respectively 3rd and 5th from left) and Lieut-Col E.H. Fenn, the Viceroy's Surgeon (standing 4th from left). Lady Ulrica Duncombe and Lady Curzon are seated at the left of the group. Formal group portrait in front of palace. Formal group portrait in front of pavilion, with Sir Montagu and Lady Butler and Lal Jawahir Singh, Raja of Sarangarh, in the centre.[Gelatin silver print, 287x235mm]. Formal group portrait in the durbar hall. Photograph appears to be a montage, with at least some figures added at a later date. Formal group portrait mounted on card. No identifications supplied. Formal group portrait of army officers, General Lockhart in centre. The only other identified sitter is Lucas White King (middle row, left-hand figure). Formal group portrait of bridal couple and guests, photographed on the lawn in front of an unidentified house at Simla. No identifications supplied. Formal group portrait of Chin Police with European officers.[Gelatin silver print, 288x213mm]. Formal group portrait of committee members, probably taken at Simla. With letterpress key on mount identifying sitters as follows: (1st row, seated on ground): Messrs Hyder, Mathur, Gian Chand, Jan, Zamir, Bhalla, Raman, Chakerbutty, Murty; (2nd row, seated): Mr Tambe, Sir Mohammad Yakub, Lord Dufferin, Mrs Subbayaran, Sir John Kerr, Lord Lothia, The Hon. Mary Pickford, Sir Sunder Singh Majithia, Major Milner, Sir Zulfiqar Ali Khan, Mr Chintamani; (3rd row, standing): Mr Thompson, Mr Stephens, Mr Jayaratnam, D.B. Ramaswami, Mudaliyar, Hon. Mr Miller, Mr Bakhale, Mr Butler, Dr Ambedkar, K.B. Aziz-ul-Haque, Mr Laithwaite, Mr Ward, Mr Parker, Rai Sahib D.N. Maitra; (4th row, standing): Messrs Ramanayya, Rashis, Kapoor, Bannerji, Newar, Charan Das, Carneiro, Feroze, Bery, Sharma and Ghosh; (5th row, standing): Messrs Ishaq, Anantharaman, Mitel, Jerjees, Chopra Sadhu Ram ( Jamadar).[Gelatin silver print, 358x269mm]. Formal group portrait of dignitaries. William Jenkyns, an assistant Political Officer, was killed at Kabul with Sir Louis Cavagnari. Other copy negs at B.7360 and B.7271. Formal group portrait of doctors, nurses, orderlies, etc. Formal group portrait of European and Indian missionaries. Formal group portrait of F.M. Bailey and staff. On card mount. Formal group portrait of five figures. The two Indians are unidentified. The three other sitters are (l. to r.): Donald Johnstone; ---; Lewis French; ---; Charles Vanne Salusbury. Formal group portrait of five officers. Captain George Stanley Hooper is seated at the right. Formal group portrait of government officials and wives. No identifications supplied. Charles Aitchison is seated second from left. Formal group portrait of governors with the Viceroy Lord Irwin, in front of Viceregal Lodge, Simla.[Gelatin silver print]. Formal group portrait of ICS members and their wives, with identifications written on print surface in ballpoint pen. The following sitters are identified: Hamid Ali, James Studdy John Abbott, Arthur Charles Robinson, Charles Blythe Critchley, Henry Montgomery, Arthur Clement Wild, John William Smyth, Raymond Evelyn Gibson, Edward Millard Pratt, George Ernle Chatfield, Robert Stonehouse Broomfield, Mrs Broomfield, Arthur Eric Willoughby Steward, Alfred Daniel Guy Hore, Mrs Hore, Walter Frank Hudson, Violet Hudson, Arthur Delaval Younghusband, Maud Helen Younghusband, Charles Hugh Blathwayt, Mrs Blathwayt, Charles Gordon Fawcett, Mrs Fawcett, Stephen Harris Covernton, Mrs Hamid Ali, Clement Ayerst Beyts.[Silver printing-out paper, 283x201mm]. Formal group portrait of Indian civil servants. The sitters are identified by a handwritten key in ink on the print, as follows: Mr Halsey; Mr Batten; Mr (?)Gore Onsely; Mr Monteith; Mr Collins; Mr Bianchetti; Sir Steuart Bayley; Sir (?)Alec ---; Mr Egerton; Mr McNabb; Mr (?)Biniard; Mr Thompson; Mr Cockerell Formal group portrait of Indian Police officers and men. Print mounted on card, with letterpress title (as above) and key supplying the following identifications: (seated on ground): Sgt. Taylor; Sgt. Plomer; Sgt. Rector; (1st row): S. Altaf Hussain Shah (S.I.); Mr Gobbet (Inspector); K. Sultan Mohmud Khan (D.I.); M. Sardar Mohd. Khan (C.I.); Q. Altaf Hussain (P.D.S.P.); G.R. Savage (A.S.P.); H.D.M. Scott (S.P.); Mr Button (D.S.P.); Pt. Amar Nath (D.S.P.); R. Mohd. Sarwar Khan (D.I.); Mr Waters (R.I.); L. Sardari Lal (P.I.); Mr Coombs (Inspector); (2nd row): Pt. Diwan Chand (Pay Officer); L. Kanwar Sain (P.S.L.); B. Raja Ram (H.C.); S. Dhanwant Singh (S.I.); R. Fazldad (S.I.); Mr Karim Bux (S.I.); Mr Mohd. Malik (Reader); S. Atma Singh (S.I.); Ch. Mohd. Basheer Akbar Khan (P.S.I.); K. Mohmud Alam (P.S.I.); Pt. Ragbhir Singh (S.I.); S. Mohd. Ishaq Shah (S.I.); Ch. Mohd. Ashraf (S.I.); L. Raghunandan Lal (S.I.); (3rd row): B. Mohd. Din (S.I.); Mr Balkhishen (S.I.); Sh. Mohd. Afzal (A.S.I.); Ch. Mohd. Hussain (A.S.I.); Mr Manmohan (A.S.I.); L. Shiv Dass (A.S.I.); R. Jahandad Khan (I.O.); L. Krishan Lal (A.S.I.); M. Mahbub Khan (A.S.I.); Mr Ahmed Khan (A.S.I.); Pt. Kasturi Lal (A.S.I.); Sh. Abdul Aziz (A.S.I.); Ch. Mohd. Khan (S.I.); (4th row): S. Khan Mulk (S.I.); Kh. Ashaq Mohd (S.I.); Agha Saadat Mehdi Khan (S.I.); K. Mohd. Anwar (S.I.); S. Asghar Ali Shah (S.I.). Formal group portrait of Indian Police officers and wives, in civilian clothes. A handwritten key beneath the print identifies the sitters as follows: Coghlan, [?]d'Maule Cole, Ray, Reverett, Barnard, Bennett, Edwards, Turner, Wilson, Orr, Herapath, Farrant, Mrs Edwards, Mrs Boyd, Fellowes, [?]Mrs Rushton, Inspector-General of Police, Mrs Wilson, Holmes, Mrs Farrant, Boyd. Formal group portrait of Indian Police officers at the Police Training School at Phillaur. Mounted print with letterpress title label and identifying key pasted to mount. Sitters identified as follows: (seated on ground): R.M. Hallows; McLintie; Bowen; K. Shamsher Singh; S. Gurdial Singh; Edwards; J.M. Dean; (1st row, seated): H.D.M. Scott; Kilburn; Jameson; Scroggie; Plumb; Bennett; Slattery; Orde; Toms; Jeffreys; duHeaume; Bassett, Khan Abdul Qayum Khan; Gainsford; (2nd row, standing): Sheikh Riaz-ud-Din; S.E. Robinson; S.S. Sant Singh; K.B. Saadat Ali Khan; S. Waryam Singh; Hopkins; Ahmad; Qurban Ali Khan; K.B. Abdul Ghafur Khan; K.B. Abdul Qayum Ahmed Khan; S.B.S. Sant Singh; S.R. Chaudri; Leake; Unitt; R.B.L. Chuni Lal; (back row): Garrod; K.S. Abdus Samad Khan; Lethridge Farmer; S. Gurdial Singh; Morton; Russell; Durrant; Brar; L.V. Deane; N.R. Sahney; R.B. Mehta Ishar Das; S.J.S. Bindra; Everett; Holliday; K.S. Sayad Hamid Mukhtar Shah; Garrad; Neal. Formal group portrait of Indian soldiers, arranged in three ranks, with rifles. Formal group portrait of Indian students. Formal group portrait of large military group and nurses, posed in front of Hatfield House. With Lord and Lady Salisbury seated in the centre. Formal group portrait of Lord Linlithgow, family and staff with Sir James Sifton, Governor of Bihar, photographed in front of Government House, Ranchi. Laithwaite's notes identify the figures seated in the front row as follows: Mlle Broques, Mrs Stable, Lady Joan Hope, Lady Linlithgow, Sir James Sifton, Lord Linlithgow, Lady Anne Hope, Lady Doreen Hope, Miss R. Hill.[286x225mm]. Formal group portrait of Lord Reading, the second Lady Reading and others. A dead stag lies on the ground in front of the figures. Sir Jai Singh, Maharaja of Alwar is seated in the centre of the group between Lord and Lady Reading. Maharaja Juddha Shamsher Jang, Rana of Nepal, is seated to the left of Lord Reading. Formal group portrait of Maharaja Sir Ganga Singh and the four officers of his State Council. These officials are identified beneath the print as: Maharajn Bhairun Singh, Thakur Bahadur Singh, Thakur Lall Singh of Churu, Thakur Hari Singh of Mahajan. Second copy neg at B.6134. Formal group portrait of Major-General and Mrs Goadby and Indian guests. The only other named figures are Mr and Mrs Chatterji (Commissioner of Police, Calcutta). Formal group portrait of members of the resident's council seated in front of the Officers' Club at Indore. The sitters are identified as follows (left to right): G.N. Paroolkar (Household Member), B.A. Bhagvat (Legislative Member), R.B.T. Gajrajsing (Settlement Member), Pyarelal Bar-A-L (Judicial Member), R.B. Nanakchand (Minister), Major Younghusband (Resident), General G. P. Borade (Military Member), M. S. Alihasan (Revenue Member), B.P. Wagle (Home Member), Colonel G. Matkar Khasgim.[Silver printing-out paper, 258x215mm]. Formal group portrait of military band. The location is identified as Nowgong in pencil on the mount.[Albumen print, 273x209mm]. Formal group portrait of Mysore officials. The more important figures in the group are identified as follows: Col Benson IMS, E. Maconochie CS, The Yuva Rajah, H.H. the Maharaja, The Dewan, First Member of the Council, Maj Smith IMS. Print cropped to long narrow format. Formal group portrait of officers, in uniform, posed on a verandah. Edward Molyneux is standing third from left.[Printing-out paper, 285x209mm]. Formal group portrait of officers, with key on reverse of print identifying the following sitters: Major R.A.A. Wimberley (DAAG); Lieutenant D.St L. Moore (ADC); Lieutenant J.B. Robertson (officiating GSO3); Major Doherty (IMS); Captain M. Lea-Cox (DAQMG); Major J.D'A. Champney (RAMC); Major J.E. Rae (RAMC); Major R.N. Phease (RAMC); Major H.S. Woods (RAISC); Captain McLeod (RAISC); Captain F.W. Goodall (RAVC); Lieutenant-Colonel C.J.E. Greenwood (CRE); Colonel I.M. Macrae (ADMS); Colonel H. Lewis (AA & QMG); Major-General Sydney Frederick Muspratt; Colonel R. Dening (GSO1); Lieutenant-Colonel H.R. Herbert (ADS & T); Lieutenant-Colonel K.A. Gosnell (GSO2).[Gelatin silver print, signed 'Holmes' in the negative, 295x230mm]. Formal group portrait of officers and men. The British officers are identified as follows: Wood; pugh; Carrad; Peddle; Garrod; Halland; Dease; Ekins; Hale; S. Dhillon; Murphy. Formal group portrait of officers of the 1st Brahman Infantry, with sitters identified in pencil beneath print as follows: Watson Smyth, Croly, Browning, Kempson, Lane, Wilson, Walter Binny Douglas, Colone Loch, Major Budd, Captain Marshall, Inglis, Captain Whitehead, Pope.[Silver printing-out paper, 286x210mm]. Formal group portrait of officers of the Punjab Government, with Sir Charles Aitchison, Lieutenant-Governor 1882-7, seated in the centre. Taken in the garden of Barnes Court. Formal group portrait of officials. Formal group portrait of officials. Formal group portrait of officials of the Nizam's Guaranteed State Railway, probably posed in the Agent's garden.[Silver printing-out paper, blind-embossed 'Metzker & Co. Photographers Secunderabad', 289x213mm]. Formal group portrait of Police Officers, in uniform. Accompanying sheet identifies the following sitters: Nott-Bower; Sir Horace Williamson; Sir Robert Dodd; A.D. Ashdown; Connor; C. King; R. Powell; R. Marsh Smith; Chapman [?]; Thom (?); Parsons; Sir Denys Pilditch; Conlin; Parkin; Macartney; E. Hunt (?). Print previous dated c.1925, but officers are wearing mourning bands, presumably to mark the death of George V. Formal group portrait of Police Officers, in uniform. Accompanying sheet identifies the following sitters: R. Powell; Sir Robert Dodd; Sir David Petrie; Sidney Victor de Montmorency Gordon (Principal, Police Training School); Sir William Marris; A.D. Ashdown; Weymouth; Sir Horace Williamson; C. King; 'Freddy' Young; Macintosh; Robinson; C. Kemp; Macartney; Parkin. Formal group portrait of police officers, mounted on card. Four of the European figures are identified, as follows: E. Rogers; P. Biggane; Denys Pilditch; H.C. Mitchell. Formal group portrait of police officers, mounted on card and inscribed, 'With best regards from Kheri Police, Shahah Uddin, 5/5/36'. No identifications supplied. Sir Denys Pilditch is seated in the centre of the group. Formal group portrait of Public Works Department staff. Formal group portrait of Punjab Police officers, mounted on card. No identifications supplied. H.D.M. Scott is seated fifth from the right. The date of c.1925 is given by Mrs Scott, but Scott appears younger than in print 2. Date possibly nearer 1920, or print 2 taken later than 1925.. Formal group portrait of religious dignataries, in front of the verandah of an unidentified building. The nuncio is tentatively identified as Mgr. Agliardi.[Albumen print, 245x204mm]. Formal group portrait of servants, with letterpress identification label pasted on mount giving names and positions in the household, as follows: 'Maibub (Bhisti); Imam Khan (Kitmagar); Dheru (Sweeper); Pudmah (Jampani); Juggoo (Jampani); Ali Buksh (Kitmagar); Hingoo (Mesalchi); Juno (Jampani); Sadagru (Jampani); Mungul Singh (Chuprassi); Dingu (Cook's mate); Rup Chand (Cook); Sadu (Jampani); Juno (Mate of rickshaw); Sadu (Jampani); Nanku (Bearer); Mahommed Din (Dherzi); Gholam Nubby (Night Chuprassi); Kadim (Chuprassi); Eli Buksh; Ram Pershad (Chuprassi); Badami (Auyah); Kupuru (Jhampani); Badal (Syce); Kodai (Syce); Durgu (Jhampani)'. A note on the reverse of this print also reads: 'Our servants and Churprassis, Observatory House, Simla, 1909. Taken just before we left Simla for Calcutta on our way to England. Taken on the dining room verandah before the long bed of carnations. M.M.S.' Duplicate, in better condition, at Photo 355/8 (56). Formal group portrait of Siyin Chin soldiers in the Chin Hills Battalion: 'In 1909 the Govt. sanctioned as an experimental measure the enlistment of 57 Siyin Chins. The success that has resulted in [ie from] this experiement is now well-known. The Siyin has justified the reliance and trust placed in him and has proved himself a really good soldier. Keen on his work, amenable to discipline and a plucky fighter. He proved his worth during the Haka Rebellion and in successive years during the Naga Hills (U.C.) Expedition. A Siyin Chin now has he unique honour of being Subadar Major of the Battalion...' (p. 158).[Gelatin silver print, 200x148mm]. Formal group portrait of staff, probabvly taken at Simla. Mounted on card, with letterpress key identifying sitters as follows: (1st row, sitting on ground): Messrs Bhalla, Gian Chand, Hyder, Kapoor, Raman, Mitel; (2nd row, seated): Rai Sahib D.N. Maitra, Mr Stephens, Mr Laithwaite, Sir John Kerr, Lord Lothian, Mr Jayaratnam, Mr Thompson, Mr Ward, Mr Parker; (3rd row, standing): Messrs Jerjees, Sharma, Ghosh, Bery, Bannerji, Feroze, Carneiro, Charan Das, Newar, Ishaq, Rashid; (4th row, standing): Messrs Chakerbutty, Ramanayya, Murty, Mathur, Jan, Zamir, Chopra, Anantharaman, Jamadar Sadhu Ram.[Gelatin silver print, 283x232mm, signed 'Lothian' in bottom right corner]. Formal group portrait of staff and pupils, posed in the open air. Pencilled note on reverse of print identifies figures 'seated left to right in centre: Signal boatswain; Squadron Signal Officer; Officer in Command (Lt. Cdr. Learmont) of Training Establishment (Capt. E. Danglish R.I.M.); Officer in charge of Boys' School, Lieut Herring; Boatswain of Boys' School.' Formal group portrait of the Viceroy, staff and Sir Syed Muhammad ALi Raza Khan, Nawab of Rampur. The following figures are identified beneath the print: Hugh Stable; Lady Joan Hope; Lady Anne Hope; the Nawab; Lord and Lady Linlithgow; Sir Syed Sultan Ahmed; Cyrille Stable; Gilbert Laithwaite.[Gelatin silver print, 352x266mm]. Formal group portrait of the Viceroy's staff taken on the verandah of Government House, probably around 24 December. Duplicate at Photo 10/27 (185) and 10/15 (47). Figures identified as follows: Back row (l. to r.): Capt A. Batty, Governor's ADC; Capt R. Burton, Viceroy's ADC; Lieut-Col Thomas John Carey-Evans, Viceroy's surgeon; Capt J.L. Muir, Governor's ADC; Mr Harry Isaacs; Sir Geoffrey de Montmorency, Viceroy's private secretary; Capt Victor Gamble, Governor's private secretary; Col R.B. Worgan, Viceroy's military secretary; Capt C.M.W. Noel-Hill, Viceroy's ADC; Capt H.G. Gregory-Smith, Viceroy's ADC. Front row: Mrs Gamble; Miss Fitzroy; Mrs Isaacs; Lady Reading; Lord Reading; Sir Harcourt Butler, Governor of Burma; Miss Megan Lloyd George; Sister Meikle.For other copies of this print see Photo 10/15 (47) and Photo 10/27 (185). Formal group portrait of the Viceroy's staff taken on the verandah of Government House, probably around 24 December. Duplicates at Photo 10/27 (185) and Photo 10/23 (30). Figures identified as follows: back row (l. to r.): Capt A. Batty, Governor's ADC; Capt R. Burton, Viceroy's ADC; Lieut-Col Thomas John Carey-Evans, Viceroy's surgeon; Capt J.L. Muir, Governor's ADC; Mr Harry Isaacs; Sir Geoffrey de Montmorency, Viceroy's private secretary; Capt Victor Gamble, Governor's private secretary; Col R.B. Worgan, Viceroy's military secretary; Capt C.M.W. Noel-Hill, Viceroy's ADC; Capt H.G. Gregory-Smith, Viceroy's ADC. Front row: Mrs Gamble; Miss Fitzroy; Mrs Isaacs; Lady Reading; Lord Reading; Sir Harcourt Butler, Governor of Burma; Miss Megan Lloyd George; Sister Meikle.For other copies of this print see Photo 10/23 (30) and Photo 10/27 (185). Formal group portrait of the Viceroy and Lady Willingdon, Sir Montagu Butler and Lady Butler, the rulers of Sukti, Raigarh and Sarangarh, and other dignitaries. Two of the Viceroy's ADCs, Flight Lieutenant Hugh Macdonald and Lieutenant Dick Streatfield are also identified in the caption, as is Thomas Lawrence Howarth Smith-Pearse, Vice principal of the college, standing behind the Viceroy.[295x243mm]. Formal group portrait of the Viceroy Lord Hardinge, with entourage and officials. The sitters are identified as follows: Wingate Wemyss Muir, Frederick Halliday, George Black, Lady Du Boulay, Mrs Smythe, Captain Bradley, Sir James Reid Roberts, C. Lister, Captain Smythe, Rex Lindsay Benson, Sir J. Du Boulay, Lady Richards, Maharaja Ganga Singh of Bikaner, Lady Meston, Lord Hardinge, Diamond Hardinge, Lady Hardinge, Sir James Scorgie Meston, Sir Henry George Richards.[Gelatin silver print (copy print), 206x156mm]. Formal group portrait of Tibetan and British officials. The Viceroy Lord Wavell and Viscountess Wavell are seated in the centre of the group. Frank Ludlow stands at the back in the centre. Formal group portrait of Trevor-Jones and Public Works Department Staff. Formal group portrait of uniformed police officers. The only identified figures are Deputy Superintendent Lincoln, Superintendent Jack A. Scroggie and Assistant Superintendent J.P. Morton. Formal group portrait of uniformed police officers. The only identified figures are Superintendent J.A. Scroggie and Deputy Superintendent Phillips. Formal group portrait of veterans, the majority wearing decorations. Formal group portraits, with sitters gathered in front of the Kershaw's thatched accommodation. A handwritten key on the mount identifies the sitters as follows: (Back row, left to right): Mr H. Forbes; Mr C. Forbes; Mrs Playfair; Mr E. Holder; Mr Playfair; Mrs Lawrie; Mr McKercher; Mrs C. Holder; Mrs Hawkins; Mr Skene; Miss Phillimore; Mrs Marillier; Miss Devitt; Mr Young; Miss -?-; Mr Hutchinson; Mr Eyre; Mr O'Sullivan. (Middle row): Mr Corkery; Mrs Corkery; Miss Hunter; Mr Reid; Mrs Young; Mr Buckingham; Mrs Kershaw; Mr Kershaw; Mrs Fitzgerald; Mr Miletus; Miss Buckingham; Mrs W. Holder. (Front row): Mr Lawrie; Mr W. Holder; Miss Fitzgerald; Mr Muspratt; Mr Halliday; Miss McRae; Mr McWhirter; Miss Hill; Mr Cornes; Mr Salkeld; Mr Lambourne.[Gelatin silver print, 281x228mm]. Formal group portrait taken at an unidentified event . A letterpress label beneath the print identifies the sitters as follows: (seated left to right): Raja of Khandpara, Mr Hoernle, Mrs B. Das, Raja of Daspalla, Miss Sifton, Hon'ble Mr Hubback, Lady Sifton, Raja of Puri, His Excellency Sir James Sifton, Mrs Hubback, Raja of Parlakimedi, Mrs A.K. Bose, Raja Bahadur of Kanika, Mrs M. Ghose, Raja of Parikund; (standing left to right): Raj Kumar of Kanika, Mahant of Uttarpara, Mahant of Emarmath, Mr A.W. Dixon ICS, Raj Bahadur A.K.P. Sinha, Rai Bahadur A.K. Bose, Dr J.N. Gupta, Captain Rice, Mr Mansfield, Captain Mudie, Zamindar of Bishnucuttack, Raja of Talcher, Raj Kumar of Parikud, Captain Clarke. Although this list is probably accurate in the sitters listed, the order is certainly incorrect. Formal group portrait taken at Government House, Madras, during an official visit by the Commander-in-Chief, India, General Sir Charles Monro. The sitters are identified as follows: Captain Troutbeck, Major Muir, Lady Monro, Lord Pentland, General Sir Charles Monro, Lady Pentland, Major-General T.E. Scott, Captain Bridges, Captain Pate, Major Macartney, Hon. Margaret Sinclair and Hon. Henry Sinclair.[Gelatin silver print, 284x231mm]. Formal group portrait taken at the Dasahara Festival at Hutwa (Hathua) in the Saran District of Bihar. The sitters are identified as follows in the letterpress key beneath the print: (front row, seated on ground, l. to r.): Captain Nisbet Adj. B.L.H.; Mr G.E. Llewellin; Major Delaney I.M.S.; Mr D. Smith; Dr Hossack; Captain Kennedy I.M.S.; Mr M. Hutchins; Mr L.W. Jopling I.C.S.; Mr M. Mackenzie; Mr H. Foster I.C.S.; Lieut. Scuddimore [sic, for Scudamore] XIth Rajputs; Mr N. Llewhellin; Mr D. MacEwan; Captain Macrae R.I.E; Mr D. Wilson; Mr G.R. Ridsdale; Mr R.S. Lockhart; (second row, seated): Mrs Nisbet; Mrs Cassel; Mrs J.S.E. Walker; Mrs Verrade; Mrs Singleton; Mrs Mackinnon; Mrs Luce; The Maharaja of Hutwa; Mrs Hutchins; Mrs Wilson; Mrs McLeod Smith; Miss Pepe; Mrs Mackenzie; Mrs Hamilton; Mrs MacEwen; (third row, standing): Mr H.R. Cassel; Mr M. Mackenzie; Mr G.H. Hodding; Mr E. Cameron; Mr J. Thorpe; Mr H. Russell; Miss E. Wilson; Mrs Wilson; Mr E.C. Ansorge I.C.S.; Captain Singleton; Captain Ovens; Mr D. Quinlon; Mr H. Verrade I.C.S.; Mr D.N. Dutt; The Hon'ble Mr E. Mackinnon; Mr F. Blackiston; Mr J. Macpherson; (back row, standing): Mr W. Dible I.C.S.; Mr J. Hamilton; Mr J. Wilson; Mr R. Macrae; Mr J. Hope Simpson I.C.S.; Mr A.L. Turnbull; Mr R.N. Macdonald; Mr F.M. Luce I.C.S.; Mr F. Barclay; Mr A.C. Lock; Mr I.B. Fraser; Mr McLeod Smith. Formal group portrait taken in front of the entrance to the Residency. Hugh Barnes is seated on the left of the front row, with Lord and Lady Curzon in the centre. Edith Barnes is seated second from the right, on the Viceroy's left. Formal group portrait taken in front of the Residency at Chamba. See print 26 for an almost identical portrait, with sitters listed. Formal group portrait taken on the occasion of Krishnaraja Wadiyar's accession. Sitters are identified as follows: [starting at back row, left to right]: Mr Whitely, Lieut-Col P.H. Benson, Col Macintire, Major McMahon, Capt Adams, Capt Erskine, ---, Capt Weedon, Lord Fincastle VC, Col McGann, ---, Mr Babington Smith, Col Franklin, Sir K. Sheshadri Iyer, Mr T. Thumboo Chetty, Col Campbell, Mr R. Bruce Foote, Mr Kantaraj Arasu, Mr P.N. Krishna Murti, Mr Abdul Rahman, Sir W.J. Cunningham, Sir W. Mackworth Young, Lady H. [sic for Elisabeth] Bruce, Lord Elgin, H.H. the Maharaja, Lady Elgin, Lady Mackworth Young, Mrs Erskine. Formal group portrait with European and Indian guests. Formal group portrait with Keppel seated in centre, with the Nawab of Dir to the right. On either side are the Nawab's sons, Alamzet Khan and R.B. Shahjehan, plus one unidentified figure. Formal group portrait with Lord Curzon and Sir Bhawani Singh, Maharaja of Datia, seated in centre. Maharaja's face blurred through movement. Formal group portrait with Sir William Muir (Lieut-Governor N.W.F.P. 1868-74) seated at an occasional table, his staff grouped round him. Other members of the group are identified on the print as follows (l. to r.): Colonel William Wilberforce Harris Greathed R.E. (Irrigation Engineer); Charles Alfred Elliott (Secretary to Government); Paul Whalley (Under Secretary); Edward Gordon Lillingston (Assistant Private Secretary); Binfield Wemyss (ADC); Colonel Charles James Hodgson (Chief Engineer); Lloyd (Assistant Secretary). [Forenames supplied where known and some mis-spellings in original caption corrected.] It was Muir (according to the poem on the reverse of print 1) who suggested the imperial title Kaiser-i-Hind for Queen Victoria. Formal group portrait with the bride (in wedding dress) and bridegroom in the centre. The following figures in the group are identified: Miss Rattigan, Surg Col Calthrop, Miss Rattigan, Mrs Dixon, Mrs and Miss Sandiford, Mrs Cleghorn, Miss Howie, Miss Frizelle, Mrs McEwan, Mrs Griffiths, Capt and Mrs Rich, Col Patch [?], Mrs Turner, Miss Brown, Mrs Cardoza, Mrs and Miss Fairweather, F.V. Jacob, Col Halliday, Miss Halliday, Capt Fegen, Effie and Ellee Halliday, Mrs Halliday, Revd and Mrs Spence[r?] Gray, Col Macpherson, Dr Stein, Miss Penny, Miss Williams, Mrs Starr, Major and Mrs Sherston Baker, Mrs Frizelle, Lieut Dunsterville, Edward and Mrs Kay-Robinson, Major Hawkins, Herr J�sth, Miss Roe, Capt McCartney, Mrs H.B. Rattigan, Lieut Bayley, 13th B.I. Formal group posed beneath an awning, precise location unknown. No identifications supplied. Good study of uniforms. No. 30 in Burke catalogue of Afghan War views. Formal group posed in a garden. Sitters named from left: 'Mr R.R. Gales, FCHM, Inst CE, Engineer-in-Chief; Mr L.F. Jackson, Assistant Engineer; Mr R.A. Delanougerede, Executive Engineer; Mr S.P. Flowerdew, Assistant Engineer; Mr E.B. Robey, Assistant Engineer; Mr N. Pearce, Assistant Engineer'. Formal group with instruments. Officers in the front row named as: 'Bandmaster Anthoney, Sgt Donovan, S.M. Maxwell, Sgt Honour [and] Sgt Pearse'. Formal group with Viceroy's family and staff at Government House. Lord and Lady Dufferin are seated in the centre, with Sir James Fergusson, Governor of Bombay, to the left. Members of the Viceroy's staff stand behind. Lady Helen Blackwood is seated on the left. Formal Indian Police group, with Denys Pilditch seated in centre. No other identifications supplied. Print in very poor condition, mainly through damp damage. Duplicate at print 12. Formally group photograph. Print faded. Formally posed European group, posed on an open field, with a tent in the background. The sporting or social occasion at which this photograph was taken is not identified, allthough possibly a gold tournament. The hills in the background are probably the Nilgiris and the group may have been taken at Ootacamund, where the photographers Wiele & Klein maintained a studio in the 1890s and early 1900s, or possibly Wellington. The following identifications are supplied on the back of the print (spelling corrected in some cases): Back row, left to right: Major James George Dennistoun; -?-; -?-; Major Edward Wheeler Slayter; Colonel Harold Bridgwood Walker; Mr Campbell; Captain Carter (Dolly Fowler's husband); -?-; -?-; Mr Thorpe; Mr Head; Major Thomas. (Seated): Laura Hunt; Colonel Benson; Mrs Clara Dennistoun; General Sir James Wolf Murray; Mrs Fitzgerald; Colonel Meade (golf secretary); Major -?-; Nellie Ellis; ?Captain Parr.[Silver printing-out paper, signed 'Wiele & Klein' in the negative, 286x207mm]. Formally posed European group at the durbar camp, unidentified apart from Walter Binny Douglas in the back row, and 'M.E.D.', presumably the wife of Walter Binny Douglas, in the front row. Photograph uncredited, but probably by Bourne & Shepherd.[Silver printing-out paper, 289x173mm]. Formally posed European group in the garden of Government House, Lahore. Hugh Shakespear Barnes stands 5th from left, back row. Sir Dennis Fitzpatrick, Lieutenant-Governor of the Punjab is seated in the centre of the group. Formally posed family group, probably taken at the Kailana army camp. Sitters are identified as follows: Mr Lewis, Olive Domoney, G.A. Herniman, Vi [?Herniman], Mr Cope, Miss ---, Mr Domoney; Ronald Herniman, Bert Domoney, Mrs Herniman, Mrs Lewis, Mrs Cope, Mrs Domoney, Lewis, Sylvia, M. Cope, Lewis, B. Cope, Pip Domoney, son Lewis Formally posed family group. The following sitters are identified: Tom Domoney (RSM, Queen's Own), Mrs Domoney; Olive Domoney; Violet Herniman; Mr Copeland; Bert Domoney; 'Knobby' Knowles; Ronald Hernimen; 'Pip' (Joan) Herniman. Formally posed group, in uniform. Print considerably faded and yellowed. Formally posed group, in uniform. Print considerably yellowed. Formally posed group, with Maharaja Rajendra Kishor Singh Bahadur (d. 1883), seated in the centre. Formally posed group, with servants standing in background. Formally posed group.[Gelatin silver print, 286x205mm]. Formally posed group in front of an unidentified church. The Archdeacon of Rangoon, Joseph Perry Dyer, is seated in the front row, 5th from the left. The figure beside him is possibly the Rt Revd. Arthur Mesac Knight, Bishop of Rangoon, 1903-09. Formally posed group in front of the entrance to Government House, Rangoon. Seated left to right are: Lieutenant Edward Charles Lentaigne (extra ADC), Charles Pennell (Private Secretary), Sir Herbert Thirkell-White (Lieutenant-Governor), Captain Ernest Lawrence Caldecott (ADC). With staff and servants standing in three rows behind.[Albumen print, 272x210mm]. Formally posed group of British and Gurkha officers of the 3rd Gurkha Rifles, Identified as follows:(1st row, back): Lieut. L.G. Forster; Capt. H.A. Skone; Capt. G.E.R.S. Hartigan M.C.; Lieut. H.E. Garland; Capt. C.J. Morris; Jem. Mahiman Sing Thapa; Jem. Tilbir Thapa; Jem. Kaman Sing Thapa; Jem. Narain Sing Gurung; Jem. Kasar Sing Thapa; Jem. Dharam Sing Rana I.D.S.M.(2nd row): Major J.E. Colenso; Colonel C.H.A. Tuck C.I.E.; Major H.F.C. McSwiney D.S.O., M.C.; Capt. H.J.A. Simpson M.C.; Sub. Birbhan Thapa; Sub.-Major Nain Sing Thapa I.D.S.M.; Sub. Balbir Gurung M.C.; Sub. Lalbahadur Gurung I.O.M.(3rd row): Jem. Setu Gurung; 2/Lieut. R.L. Whyte; Jem. Amar Sing Thapa; 2/Lieut H.V. Rose; Jem. Shibparshad Rai.[Gelatin silver print, 296x197mm]. Formally posed group of children in costume.[Gelatin silver print, 285x208mm]. Formally posed group of escort. Small snapshot. Formally posed group of Indian officers, in uniform. Formally posed group of men and women, gathered round a small table set out with tea-cups. Formally posed group of men and women. Most of the men are in uniform, presumably as members of the Eastern Bengal State Railway Volunteers. The commanding officer, W.R. Haughton is seated on the ground at the front of the group. Thomas Hindmarsh stands in the centre of the back row. Formally posed group of officers and men, Noel Shore seated in centre. Formally posed group of Shan chiefs and retainers. The central seated figure is Nang Teptila, sister of the Kengtung Sawbwa. To her left is Nang Hkan Hkam. The Laikha Sawbwa is seated in the centre of the group. For other copies of this print, see Photo 163/1 (166 and 237).[Silver printing-out paper, signed 'Criouleansky & Marshall' in the negative, 285x203mm]. Formally posed group of Tibetans and Europeans. Some identifications are pencilled on the back of the print, but a fuller key to the sitters can be found in the article by W.H. King entitled The Telegraph to Lhasa (Geographical Journal, vol 63 no. 6, June 1924, pp. 527-31), where this photograph is reproduced. In the front row are seated, left to right, W.H. King (in charge of laying the telegraph), Tsarong Shap� (Commander-in-Chief), Ngappa Shap� (Civil Member of Council), Parkhang Shap� (Lama Member of Council). Standing behind are Mr Kyipok (Tibetan Director of Telegraphs) and Willoughby Patrick Rosemeyer (telegraph engineer). Formally posed group of two European and six Indian officers, probably taken at Peshawar. The two European sitters are Muspratt and Captain John Campbell (29th Punjabis).[Silver printing-out paper, 210x157mm]. Formally posed group of uniformed police officers and senior civil officials. The only identified figures are: Sir William Marris (Governor of United Provinces, 10th from left), A.D. Ashdown (Inspector General of Police, 11th from left), Sir David Petrie (7th from left), Sir Robert Dodd (6th from left). Formally posed group of Viceroy and staff. The Duke of Connaught is seated in the centre of the group. To his left sit the Viceroy Lord Dufferin and the Duchess of Connaught. Lady Dufferin is seated at the right of the group, with Major Harry Cooper, Viceroy's ADC, sitting on the carpet in front of her. Other identified figures are: Sir Donald Mackenzie Wallace, Viceroy's private secretary (standing, sixth from left), Lord William Beresford (standing, fifth from left), Right Revd. Edward Ralph Johnson, Bishop of Calcutta (seated, second from left). Formally posed group on terrace, with Bell and Tibetan and Sikkimese officials. Seated figures, left to right, are: Der-ge Se, Maharaj Kumar Sidkeong Trul-ku of Sikkim, Bell, Dalai Lama, Lonchen Sha-tra, Lonchen Sho-kang, Lonchen Tre-kang, Shappe Kun-sang-tse. Formally posed group on the terrace of Government House. The Viceroy Lord Minto is seated centre, with Sir Herbert Thirkell White on his right hand. Mary, Countess of Minto, is seated on the Viceroy's left, with Lady White on her left. With other family members and staff forming the rest of the group. Minto made an official tour of Burma in Nov-Dec 1907.[271x206mm]. Formally posed group photograph in front of the porch of St Mary's Church. With several women and girls in the group (possibly Mrs Hodder and children?). Another copy at print 63. Formally posed group photograph of uniformed army officers, mounted on card with key to sitters. Identifications are supplied as follows: (front row, seated, left to right): Capt. (later Major-General Sir) Reginald John Pinney, Royal Fusiliers, officiating A.A.G.; Sir William Galbraith KCB, General Officer Commanding; Capt. Digby Lighton Mallaby RE, ADC; (back row, standing): Capt. Guy Audouin Carleton, Royal Lancashire Regiment, DAAG Musketry; Capt. H.M.S. O'Brien, Border Regiment, Officiating DAAG; Capt. Charles Lionel Mainwaring Rich, the Guides, AJA Genl.; Capt. William James Richard Wickham, CCO. Formally posed group poprtrait: '...with mongolian monks and servants. He stayed three months in Lhasa, making offerings to monasteries, etc., on behalf of his chieftain and himself.' Formally posed group portrait, in uniform. The sitters are identified as: (seated on ground): Mr Plowden, Mr Reid, Captain Tucker: (seated): Captain Tait, Major Colonel Bamfield, John Younghusband, Colonel Miller, Captain Newbery, Mr J. McAndrew; (standing): Mr Rawlins, Goldney, Colonel Millett, Mr Smith, Mr McCracken, Mr Holbrow, Hunter.[Albumen print, 295x204mm]. Formally posed group portrait, with accompanying typescript list supplying identifications as follows: (back row): Nadan Singh, Hazrat Khan, Karam Khan, Mehtab Singh, J.L. Carter, J.D. Twinberrow; (middle row): S. Clapham, Sahib-i-Haq, C.M. Malden, Malang Khan, R.S. Dudley, Parru, G.E. Hansen, Kalandar Khan, R.H. Burne; (front row): Hukam Dad, B.E. Anderson, Jawahir Singh, T.L. Leeds, Ali Akbar, A.F. Telfer, Santa Singh, H. Buchanan. Formally posed group portrait, with British officers seated in front, Indian NCOs standing behind. Perambur is a suburb of Madras. The key beneath the print supplies the following identifications: front row, seated: Lieut [H.F.S.] Ramsden, Lieut [Augustus] Ritherdon, Lieut-Col [Colin] Mackenzie, Lieut-Col [Frank] Beeching, Maj [Joseph Beauchamp] Leggett, Lieut [William Charles Henry] Mackintosh; standing behind: Jemedar Yelliah, Sgt Maj Biggs, Subedar Mahomed Isoof, Havildar Major Gooriah, Jemedar Adjutant Ramaswamy, Subedar Maj Mahomed Ghouse, Jemedar Shk. Daoud, Subedar Anuntaram. The soldiers standing at the right and left sides of the group hold the regimental colours. Formally posed group portrait, with letterpress caption on mount as above, and key identifying the sitters as follows: front row, seated, from l.to r.: Seth H. Lal Umaria; Mr D.C. Conservator of Forest; Mr Guru Pd. Indus, Minister; Col Lal B. Singh, Home Minister; Pt. B. D. Joshi, Durbar Vakil; Mr C.L. Corfield, Chairman; Th. G.S. Singh MSC; Lal Y. Singh Thakur Saheb Tala; Mr S. Tandon, Rev. Minister; B. Sharda Pd. Satna; Lal J. Singh Khaleswar; middle row, standing: Seth K.C. Jain Beohari; Maj L. Oswald, Supt. Medical; Syad Md. Qasim D.M. South; Mr D.P. Jardine Satna; B.S. Ghosh, State Engineer; D.B. Sardar S. Singh I.G.P.; Pt. V. Prasad; D.M. North; B.J. behari Lal; D.M. East; K. Pd. Daloura; R.S. Pt.Beniram Singrauli; Pt. R.K. Sharma, Secretary, Raj Parishad; back row, standing: B.N. Kurmi Teonthar; Mian Md. Bax Satna; Umrao Mangal Singh Niwas; Mr Khandelwal DFO; M. Ayaz Ali Khan, Supt. Municipality; Lal A. Singh R. Nagar; Pt. N.K. Dube, Dy. Commr.; Pt. M.V. Kunte, Supt. Permit.; Pt. Bhairon Pd., Rewa; Mahtaun Sivdayal, Rewa. Formally posed group portrait, with sitters identified as follows:Front row, left to right: Doris Skrine; Lady Elizabeth Matheson; the Viceroy Lord Willingdon; the Khan of Kalat, Mir Muhammad Azam Jan; the Countess of Willingdon; Mr Norman Cater (Agent to the Governor-General in Baluchistan); Mrs Brett; Mrs Poulton [wife of Henry Mortimer Poulton, Politcal Agent, Kalat].Back row, left to right: Lieutenant Dickson; Lieutenant Aubrey Smith; Lieutenant Oliver St John; Captain Freeman-Thomas; Captain Benwell; Mr Peterson (Times corresondent); Captain McDonnell [sic, read Macdonald] (R.A.F, A.D.C.); C.P. Skrine; Khan Bahadur Gul Muhammad Khan (Wazir-i-Azam); Mir Ahmad Yar Khan (Heir Apparent); Mr Mieville (Private Secretary to the Viceroy); the Jam of Las Bela; General Sir Torquhil Matheson (G.O.C.-in-C., Western Army); Captain Clive (A.D.C.); Colonel Brett (Commissioner); Mir Muhammad Rahim Khan (2nd son of Khan of Kalat); Captain Budgen (A.D.C.); General Newcome (G.O.C. Baluchistan).On ground: Mir Muhammad Aslam Khan, grandson of the Khan of Kalat by his (imbecile) eldest son Mir Akram Jan, seated with four alabaster camels from the Miri at Kalat.[Gelatin silver print, 198x139mm]. Formally posed group portrait. Edwards, the only European in the group, is seated centre, wearing a garland of flowers. Formally posed group portrait. Europeans in the front row identified as follows: Noel Shore, Mrs Madeley, Mr W.C. Dible (Collector), self (Mrs Shore), Mr W.Y. Madeley (Judge). Formally posed group portrait. The album also includes a copy of this photograph, reproduced in an unidentified newspaper, the photograph credited to M. Sain, and with the following identifications: (front row, left to right), Mrs Mackenzie, Professor Nolf, H.E. the Countess of Lytton, H.M. the King of the Belgians, H.M. the Queen of the Belgians, H.E. Lord Lytton, Lady Hermione Lytton; (back row, left to right), Mr Wilkinson, Major Bailey, Mrs Hodge, Captain Blois ADC, Captain Wilkinson ADC, H.R. Wilkinson ICS, Major Harvey, Lieutenant Colonel J. Mackenzie, Captain Coffinoff [Goffinet], Captain Shewan, Mrs Bailey, Major Hodge, Lieutenant Napier MC. Formally posed group portrait. The following identifications are supplied beneath the print: front row, seated l. to. r.: Dr Williams, Colonel Fairlie, ColBevan, Major Stuart, Capt Yates; back row, standing: Maj Gordon, Major Hooper, Capt Hope, Capt Morant, Capt Clark. Formally posed group portrait British officers and Indian soldiers. Formally posed group portrait of British officers, taken after the unveiling of the Gurkha Centenary Bell. The sitters are identified as follows (Standing): Capt. Baird (Staff Captain); 2/Lieut L.G. Forster; Capt. G.E.R.S. Hartigan M.C.; Lieut. H.E. Garland; Capt. & Adjt. H.O. Skone; Capt. C.J. Morris; 2/Lieut H.V. Rose; 2/Lieut. R.L. Whyte. (Seated): Capt. Whittuck M.C. (Bde. Major); Colonel C.H.A. Tuck C.I.E.; Colonel Commandant Lock [sic for Loch] C.B., C.M.G., D.S.O., C.B.E.; Major J.E. Colenso; Major H.F.C. McSwiney D.S.O., M.C.; Capt. H.J. Simpson M.C.[Gelatin silver print, 291x189mm]. Formally posed group portrait of family, in traditional dress. Formally posed group portrait of General Sir Charles Monro, his staff, some wives, and Sir George Lloyd, Governor of Bombay. The following sitters are identified: (Back row): Major Muir, Captain Bridges, Captain Knight. (Front row): General Sir William Marshall, Lady Jacob, General Sir Charles Monro, Sir George Lloyd, Lady Monro, General Sir Claud Jacob, Lady Marshall, Mr Strong.[Gelatin silver print, 276x214mm]. Formally posed group portrait of Lord Curzon's party, photographed on the Residency verandah. The sitters are identified beneath the print as follows: [front row, seated, l. to r.]: Miss Pelly; Col Barr (Resident); Lady Curzon; Lord Curzon; Mrs Barr; H.S. Barnes (Foreign Secretary); Capt Baker-Carr (ADC); [back row, standing]: Capt W.E.A. Armstrong (officiating Viceroy's Surgeon); Earl of Suffolk (ADC); Capt C. Wigram (ADC); W.R. Lawrence (Private Secretary); Capt Barr (?son of Col Barr); Capt the Hon. J. Yarde-Buller (ADC); Barr (?son of Col Barr). The portrait must have been taken between 29 March and 1 April, on which date Lawrence left the official party. Formally posed group portrait of military officers, probably photographed at Peshawar. Mounted on card and signed by sitters, supplying the following identifications (some signatures undeciphered): Gerhardt L'Honneux Sanders, Alexander Mullaly, Edmund Tillotson Rich, A.P.Y. Langhorne, John Campbell, Arthur Robert Dick, Michael William Kerin, Major General Sir James Willcocks, A.W. Money, Charles Levinge Gregory, Philip Howell.[Silver printing-out paper, signed 'Holmes' in the negative, 297x219mm]. Formally posed group portrait of staff and students. The print is accompanied by a detailed note on the uniforms of the sitters and identifications as follows of the second row (seated): William Casey Connor (probationary Dept Supt); Philip Crawford Vickery (probationary Asst Supt); sub-assistant surgeon (unidentified); Thomas Fothergill Cooke (probationary Asst Supt); Inspector at Police Training School (unidentified); Henson (Malay Police); Inspector at Police Training School (unidentified); Charles Stead (Principal); sub-Inspector, Police Training School (unidentified); W. Beatty (probationary Asst Supt); Inspector, Police Training School (unidentified); N.L.K. Wilson (probationary Asst Supt); Inspector, Police Training School (unidentified); Balram Singh, probably Depty Supt, Patiala State; Inspector, Police Training School (unidentified); L. Donaldson (probably Asst Supt; Sergt under training. Duplicate at print 6. Formally posed group portrait of the Viceroy's staff, with wives. The sitters are identified as follows: (back row, standing. left to right): Zaman Khan (Indian ADC), Captain P. Borwick (ADC), Captain A. Stocker (ADC), Johnny Johnston (ADC), Colonel H.H. Elliot (IMS, Viceroy's Surgeon), Gilbert Laithwaite (Private Secretary to the Viceroy), Colonel H.H. Stable (Military Secretary to the Viceroy), Major W.E. Maxwell (Comptroller), C.B. Duke (ICS, Assistant Private Secretary to the Viceroy), Captain D. Ross (ADC), Lieutenant A.H.P. Noble (RN, ADC), Major W.E. Goschen (ADC); (front row, seated): 'Betise', Mlle. [?]Brosques de Roget, Mrs Maxwell, Lady Doreen Hope, Lady Anne Hope, Lord Linlithgow, Lady Linlithgow, Lady Joan Hope, Mrs Stable, Miss Hill.[287x159mm]. Formally posed group portrait of the Viceroy Lord Wavell, with staff and guests, gathered in front of the Residency. The letterpress caption beneath the print identifies the sitters as follows: front row, seated l. to r.: Mrs Stokoe, Canon Tyndale-Biscoe, Lady Acheson, H.H. the Maharani Sahiba of Kashmir, H.E. the Viceroy Lord Wavell, H.E. the Viscountess Wavell, H.H. the Maharaja Bahadur of Kashmir, Sir James Acheson (Resident), Mrs Tyndale-Biscoe, Canon Stokoe; middle row: Mrs Spinks, Lady Anne Fitz Roy, Mrs Kak, Mrs Rawlence, Miss Wavell, Sir Conrad Corfield (Political Adviser), Mrs McGill, Lady Bird, Mrs Currie; back row: Capt Krishen Kumar (ADC to Maharaja Bahadur of Kashmir), Mr L.H. Spinks, Sirdar A.R. Effendi, Mir of Nagir, Lieut Col E.H. Cobb, Col D.H. Currie (Military Secretary), Dr H.E. Rawlence, Rai Bahadur R.C. Kak (Prime Minister), Lieut Col McGill, Lieut Col E. Mackinnon (the Earl of Euston), and unidentified ADC to the Viceroy. Formally posed group portrait on a terrace of the Chaumahalla Palace. The sitters are identified beneath the print as follows: [front row, seated, l. to r.]: Maha. Kishen Prasad (Prime Minister); Miss Pelly; Sahib Zada; Lady Curzon; Nizam Mahbub Ali Khan; Lord Curzon; Mrs Barr; H.S. Barnes (Foreign Secretary); Capt Baker-Carr (ADC); [back row, standing]: Earl of Suffolk (ADC); Capt Wigram (ADC); Maj Afsur-ud-doulah; Capt the Hon. J. Yarde-Buller (ADC); Sd. Husein Bilgrami; Capt Armstrong (officiating Viceroy's Surgeon); the Kotwal. Second copy neg at B.18636. Formally posed group portrait taken in the grounds of Government House Bombay. Laithwaite's note identifies the following sitters: (First row): Colonel Palk (Military Secretary to the Governor of Bombay), Lady Doreen Hope, Gilbert Laithwaite, H.E. Lord Brabourne, Lady Linlithgow, Lord and Lady Willingdon, Lord Linlithgow, Lady Brabourne, Sir Eric Mieville (Private Secretary to the Viceroy), Lady Joan Hope.A second copy of the print is loosely inserted in the album. Formally posed group with Sir Lancelot and Lady Graham seated in centre. R.G. Davies stands in the back row, fourth from right. Formally posed group with Tsarong Shap� seated between his two wives (the woman on the right identified as Pema La). Behind them stand Robert Siggins Kennedy of the Indian Medical service and a man identified only as Dingcha. Formally posed military group, with Bandmaster G.A. Herniman in centre. Formally posed military group, with the Tsarong Shap� (commander-in-chief) seated in the centre. Formally posed portrait, with Lady Sifton, Mr Hoernle and Sir James Sifton seated in the centre of a group of scoutmasters. Formally posed portrait. The five soldiers are members of the choir, and are seen dressed in church robes in print 58. Formally posed portrait group. Francis Clifton Muspratt is seated third from right.[Albumen print, 288x215mm]. Formally posed portrait of a large mixed European and Indian group. The pencilled caption on the back of the mount suggesting that this shows Balmer Lawrie staff appears to be a modern addition. Formally posed standing group of Sham Singh, Raja of Chamba, Buri Singh, who succeeded him in 1904, and court officials. Formally posed studio portrait of Ben Court and his family (comprising wife, four children and a young man, possibly his brother), on card mount with photographer's stamp reading 'P. Klier Signal Pagoda Road Rangoon.' Court was a colleague of Hugh Lewin Monk, and worked in the accounts department of the Burma State Railway.[Albumen print, 155x186mm]. Formally posed wedding group, sitters unidentified.[Silver printing-out paper, 282x195mm]. Formally posed wedding group, with sitters identified as follows: (back row, l. to r.): Sir Donald Campbell Johnstone; Bessie Sutherland Johnstone; Sir Alfred Kensington; ---; Winifred Margaret Mylne Officer; James William Douglas Johnstone; Lester Hudson Leslie-Jones; Lady Alice Harriot Margaret Kensington; Sir Charles Lewis Tupper; ---; Margaret Ruth Gilliam French; Lewis French; ---; Lady Jessie Catherine Tupper; Lady Mary Hutchinson Johnstone; (front row): ---; ---. Formally seated group portrait of hunt members. Sitters identified beneath print as follows: back row: R.T.J. Darling (Bank of Bengal); Livingstone (Army ACCS); Sandys (NWR); Gately (Ed. Service); Stow (ICS); P. Stuart (ICS, ADC to Lt Gov); Mrs Morton; second row: Parson (ICS); Mrs Bott; RFA officer; RFA officer; Mrs Dyacke (ICS); Dyacke (ICS); J. Penny (ICS, Hon Sec, Hunt); Mrs Margary; Mrs Temple (Bride); Mitchell (Nat. Bank); Mrs Leslie Jones; Vickery (I.P.); Bevan-Pethan (Solicitor-Genl.); Faulkener (Duke of Wellington Regt); front row: Mrs Powell; 3rd Cav. officer (whip); A. Hadow (Field Master); Casson (ICS, Comm. of Lahore); Mrs Casson;Major House (RFA, MFH); Mrs Hadow; Capt House (whip); Mrs Barron; Miss Muir Masson; Miss Garvies; on ground: Carnforth (NWR); Joan Casson; Phyllis Morton; D. Swann (C. & M.G.); Fowle (23rd); Walker (23rd). Formally studio portrait of eight headmen. [Albumen print, 228x198mm]. Formal police group. Formal portrait, mounted on card, with H.D.M. Scott seated in the centre of a group of Indian Police officers at Lyallpur (modern Faisalabad). A mounted machine gun stands on the ground in front of the group. Photograph possibly later than mid-1920s (see note at print 6). Formal portrait group, possibly taken at Madras. Lord Lothia, Sir John Kerr and the Hon. Mary Pickford are present in the group, which is probably related to the work of the Indian Franchise Committee.[Gelatin silver print, 203x151mm]. Formal portrait group. See Photo 430/33 (9) for duplicate with identification of sitters. Another duplicate at print 163. Formal portrait group in front of tent. Hugh Barnes (acting Foreign Secretary) is seated on the right, hands resting on walking stick. For note on attribution of photographer, see duplicate at Photo 15/5 (11). Formal portrait group of the Viceroy Lord Chelmsford, senior Indian officials and members of the Montagu Mission, with sitters identified as follows: (Top row): Lord Carnegie, Major Alexander, Captain Denny, Mr Parsons, Captain Baring, Lieutenant-Colonel Verney; (Second row): Captain Vaux, Major Mackenzie, Lieutenant-Colonel Austen-Smith, Lieutenant-Colonel Bailey, Mr Freeman-Thomas, Captain Holland-Hibbert; (Third row): Miss Hogg, Mrs Austen-Smith, Lord Donoughmore, Hon. B. Thesiger, Hon. A. Thesiger, Sir William Duke, Mr Maffey, Mr M. Seton, Mr Gould, Mr Gwynne, Mr Kisch, Sir Benjamin Robertson, Sir William Vincent, Henry Roberts MP, Hon. Joan Thesiger; (Front row): Sir Edward Gait, Sir Michael O'Dwyer, Mrs Maffey, Lord Ronaldshay, Sir James Meston, Lord Pentland, Lord Chelmsford, Edwin Montagu, Lord Willingdon, Mrs Verney, Mrs Mackenzie.[Sepia toned print, 285x196mm]. Formal portrait group on the Residency verandah. See Photo 430/33 (8) for duplicate with identification of sitters. Another duplicate at print 164. Formal portrait group posed on the Embassy steps. The figures are identified as follows: Front row: H.L. Farquhar, First Counsellor; John Helier Le Rougetel, Ambassador; M. Mumtax, Acting Chief of Protocol to the Shah; Sir Clarmont Skrine, Second Counsellor; Back row: W. Williams, Acting Counsellor; Magor G.A. Naqvi, Indian Charg� d'Affaires; G.W. Seager, Director of Public Relations, Tehran Embassy; John Sommers-Cocks, Head of Chancery; Athur Kellas, Second Secretary; L.P. Elwell-Sutton, Press Attach�; Group Captain J.D.E. Hughes, Air Attach�; Mr Anvar, Indian Press Attach�; N.S. Roberts, Commercial Secretary.[Gelatin silver print, 160x114mm]. Formal portrait group taken at Hatfield House. The more prominent figures in the group are identified as follows: Marchioness of Salisbury; Marquis of Lothian; H.E.M. de Staal; Lord Halsbury; H.E.M. Waddington; Sir H. Drummond-Wolff; Sir H. Rawlinson; H.R.H. the Prince of Wales [future Edward VII]; Marquis of Salisbury; H.M. the Shah of Persia; H.E. Count Hatzfeldt; Malcom Khan; H.R.H. the Princess of Wales; Amin-es-Sultan (Grand Vizier). Second copy neg at B.18052. Formal portrait in the interior: 'W. Phillipps; Hon G.N. Curzon; Sir G. Montgomery, Bt; Sir J. Gibson-Craig, Bt; Hon W.C. Baillie; Marquis of Waterford; Earl of Haddington; R. Macleod; A. James; W. Blackwood; R. Dundas; Earl of Hopetoun; Sir St. Northcote, Bt, MP; Lord Lamington'. Formal portrait of hockey team, with Scott seated in centre and trophies arranged in front of group. Print mounted on card with letterpress title as above and key identifying sitters as follows: (1st row): Anwar-ul-Haq; Rahmat Ullah; Mohd Akram; Thakar Singh; Mahboob Bux; Mohd Yusaf; Sardar Ali; (2nd row): Kh. Mohd Muzaffar Ali; Pt. A.K. Kaul; H.D.M. Scott I.P.; S. Sri Ranbir Singh; M. Mohd Zaman; (3rd row): Joginder Singh; Moti Singh. Formal portrait of large group posed in front of a railway carriage. Occasion and location unknown (possibly Kanchrapara). Pencilled notes on the reverse identify the following figures: W.R. Haughton, Mrs Haughton, Miss Haughton, Tom [Hindmarsh], Mr Wood (Railway Board), Colonel [C.A.R.] Browne, Sir Lancelot Hore (Lieutenant-Governor of East Bengal, 1906-11), Colonel Lumsden of Lumsden's Horse (South Africa), [Henry Burnill] Holmes, Mrs Holmes, Miss Holmes, [Arthur Vernon] Hawkins. Formal portrait of military group, in uniform. Sitters identified as follows: back row: Muir (5th Coy); Townsend (Labour Corps); Croker (France RE); East (1st Coy, killed in action 1917); Maye (A Coy, killed in action 1917); Lyster (Labour Corps); Garrett (Labour Corps); front row: Major Bone (RE, QM); Berkeley (2nd Coy); [?]Moorcombe (OC no 2 Coy); [?] Tylom Pattinson RE (Commandant); Purvis (5th Coy); Farquharson (OC 6th Field Troop); Capt Cave Brown RE (OC 3 Coy). Formal portrait of ten men in white uniforms. The photograph has been printed as a postcard and contains a greeting dated: 'Delhi 24.12.13' and signed 'H.W.M.'(?). Formal portrait of the band of the 1st Bn 12th Frontier Force Regiment (Prince of Wales's Own Sikhs) with three British officers, Major K.A. Garrett, Lieut-Colonel H.M. Burrows and Captain P.T. Clarke, and the British bandmaster. Formal portrait of the pipers of the 1st Bn 12th Frontier Force Regiment (Prince of Wales's Own Sikhs) with three British officers: Major K.A. Garrett, Lieut-Colonel H.M. Burrows and Captain P.T. Clarke. Formal portrait of two men and a young woman. Probably connected in some way with Shillong, where W.H. Nightingale was Secretary to the Chief Commissioner. Formal portrait of uniformed group. Second copy neg at B.5869. Formal portrait of wedding group in garden. Sitters are identified on reverse as follows (l. to r.): Lady Jessie Catherine Tupper; ---; --- Dorothy Margaret Boyd; Alicia Mary Tupper; Geoffrey William Tupper; ---; Frank Gaspard Tupper; --- Formal posed group, with identifications pencilled below print as follows: Lane, Watson Smyth, Browning, Kunhardt, Wilson, Marshall, Budd, Colonel Loch, Colonel Hawkins, Walter Binny Douglas, Whitehead, Inglis, Pope.[Gelatin silver print, 277x213mm]. Formal posed group. R.G. Davies stands in the back row, third from right. Formal posed group with Thomas Hindmarsh seated in the centre. Duplicate at print 13 and a very similar portrait taken on the same occasion at print 14. See the latter for identifications. Formal school portrait. Formal school portrait of female pupils. Formal seated group of the five figures. No. 102 in Burke catalogue of Afghan War views. Other copy negs at B.7360 and B.7271. Formal studio group. Formal studio group portrait of Maharaja Ganga Singh (Honorary Colonel), Major H.V. Cox (Inspecting Officer) and Major Thakur Dip Singh (Commanding Officer, Bikaner Camel Corps). Formal studio portrait of the Raja of Chamba with his sons. The figures in the group are identified as follows: Mian Nihal Singh, Mian Ram Singh, Mian Kesri Singh, His Highness the Raja [Sir Bhuri Singh], Mian Tej Singh. Formal three-quarter length portrait. Formal three-quarter length seated portrait of Maharaja Juddha Shamsher Jang (d. 1952), Prime Minister of Nepal 1932-45.[Gelatin silver print, 230x368mm]. Formal wedding group, in front of church. Formal wedding group, posed in front of a timber house at Gulmarg. A caption in ballpoint in Dame Eileen Younghusband's hand, difficult to decipher, identifies 'Mr and Mrs Naidu on each side of bride', Lady Helen Younghusband next to Mrs Naidu, and Mrs (?)Iche and (?)Shortie in back row. For another copy, see print 77.[Silver printing-out paper, 293x208mm]. Formal wedding group, with bride and groom in centre. Accompanying letter from Mr J.D. Pollock identifies the sitters as follows (left to right): Thomas Harward, brother of the groom; unidentified; Miss Helen Harris, bride's younger sister; Alfred Edgar Harward, the groom; Ethel Maud Harris, the bride; Mrs Mary Elizabeth Harris, mother of the bride; Arthur John Willoughby Harris, younger brother of bride; Annie Harris. Some of the above identifications are tentative. The letter identifies the location as Darjiling, but in fact the registration of marriage document (IOR/N/1/351 f.132) states that the ceremony took place at Saidpur (in the Rangpur district of present-day Bangladesh) on 1 September 1908. Formal wedding group. Formal wedding group. The bride Helen Bertha Mary Colvin is seated with her mother Lady Colvin, in front of the rest of the group. Sir Elliot Graham Colvin stands behind Lady Colvin. The bridegroom, H.P. Hill (presumably Major H. P. Hill, Hampshire Regiment), stands to the left of Elliot Colvin. Other figures unidentified.[Gelatin silver print, 204x274mm]. Formal wedding group on the terrace of Government House, Maymyo. The following identifications have been supplied: (seated on ground in front), Captain Ernest Lawrence Caldecott (military secretary), Mr (later Sir) (Campbell) Kirkman Finlay; (chikdren, standing), Camilla Finlay; Mona Gabbett (presumably the daughter of Edward Gabbett, PWD); (front row, starting from fifth from left), Mrs Maxwell Laurie; Sir Herbert Thirkell White; Lady White; Sir Frank Campbell Gates (Financial Commissioner); Dorothy Pennell; Charles Pennell; Lady Denning; Lady Alice Gates; George Gilbert White (PWD); Mr Cory. (Standing, second row, from seventh from left), Maxwell Laurie (ICS, President of Rangoon Municipality); Gordon Brown (ICS); Mrs Daring stands next to Charles Pennell, Mr Lees stands on her left.[292x201mm]. Formal wedding group taken in front of the porte-coch�re of an unidentified house. The Sifton's daughter (name unknown) is seated centre, the groom stands behind her left shoulder. Sir James and Lady Sifton seated on either side of the bride. See Photo 899/4 (192) for a wedding portrait of bride and groom. Four British officers seated on riverbank Four cadets posed on and beside field gun. They are identified on the back of the print as: Henry Doveton (seated on wheel), (?)William Henry Pierson, Samuel Swinton Jacob (on axle), (?)Francis Ward Major.[Albumen print, 109x144mm]. Four copies of a pencil sketch of John Nicholson (head only), made at Delhi in 1857 by a brother officer. A note on the reverse of one print states that the sketch belonged to Sir G. Bourchier. Two of the copies are of an 'impression' (tracing) of the portrait (one reversed), in the possession of the East India Club. Four Europeans in Residency garden. Four Europeans posed informally in the garden of the Bailey's house at Dehra Dun. Frederick and Florence Bailey are seated on the right. The other coupl is unidentified.[Albumen print, 210x166mm]. Four Europeans seated round a table in a garden, with two servants, one about to serve drinks, the other dispensing cheroots. The meal appears to be breakfast (with tea and toast on the table), notwithstanding the (?)whisky bottle! The figures are identified as H. Scott, H.F.S. Ramsden and R.J. Black. Four European women, a child and dog, sitting on a rug. Four European women, including Mrs Storrs-Fox, picnicking at the lakeside. Four figures on horseback, surrounded by bystanders.[Gelatin silver print, 233x140mm]. Four men, presumably Kurram Militia, seated in mountain pasture. Four men of Bailey's Gurkha escort, sitting on the ground in tall grass. Four men posed on a verandah, William Lee-Warner seated on left. Four of the group are named below the print: Mr Odling, Mr Hanlon(?), Mr Mumford and Mr Wicks. Odling is probably the engineer, Charles William Odling, who worked in the Sone Circle of the Bengal PWD. Four ponies, syces and two British officers posed in a courtyard. Four portrait groups: Staff and Mrs Whitehead, General Cutler with members of staff, catering staff, a picnic party.[Silver printing-out paper]. Four small snapshots, probably taken at Bombay.[Silver printing-out paper]. Fragment of a print, probably cropped from Print 22. Frank Ludlow and servants standing in front of tent. Frederick and Florence Bailey seated in a pony trap in front of their bungalow.[Albumen print, 227x156mm]. Frederick Bailey standing beide figure on horseback. Frederick Chandos Henniker, Director of Land Records and Agriculture, Assam, is identified as standing in the back row. Frederick Charles Isemonger was the Inspector-General of Police, NWFP. Frederick Marshman Bailey seated in the lap of an Indian servant. Second copy at print 80.[Albumen print, 92x128mm]. Frederick O'Connor and Weatherall (a young man) posed wth Irma Bailey in the garden at the Gangtok Residency. Frederick O'Connor posed with four dogs. French officer with M�haristes and standard bearer, all mounted on camels. The officer's name is spelt Berthelon in Stein's notebook, but this spelling has been coorected in pencil (presumably by Stein) in the albums. Fromally posed group portrait with figiures posed at the bottom of a flight of steps. Shyam Singh Sinha, Raja of Tajpur, is seated fifth from left, with Mrs Shore beside him, and the collector W.C. Dible on her left. Noel Shore is seated third from the right. From left: Lo Feng-loh, Lord Li, Li Ching-sou, Marquis of Salisbury, Li Hung Chang, Curzon (Parliamentary Under-Secretary), Francis Bertie (Assistant Under-Secretary). From the left 'Sir Dinshaw Petit, Mr Furdonji [and] Self [Col Jones]'. Front view of the memorial, a bust standing on a plinth inscribed: 'Erected by public subscription in honour of Sir Henry John Stedman Cotton K.C.S.I. Bengal Civil Service. Chairman of the Corporation of Calcutta, 1887. Chief Secretary of the Government of Bengal, 1892 to 1896. Chief Commissioner of Assam, 1896 to 1902. A true friend to India and her people.'[Platinum print, 181x311mm]. Full and half-lenght group portrait of the crew of the ship, in uniforms, on the deck. The marines are positioned around a cannon, with their commander at the back.[Albumen print, 309x 382mm]. Full and half-length group portrait of the crew of the ship, in uniforms. The marines are portraid preparing the canon and their commander is standing at the back facing the photographer (similar to print 27).[Albumen print, 302x382mm]. Ful-length group portrait of students and staff. The students in gym outfits and the teacher in naval uniform. Some of the students and their teacher is photographed standing, while some other students are photographed performing various acrobatic exercises. The group portrait is taken in front of a building, which looks like a naval establishment. Slight spotting on the print (similar to print 29).[Albumen print, 308x377mm]. Ful-length seated portrait. Full-ength standing carte-de-visite portrait study of the pair.[Albumen print]. Full-face head-and shoulders portrait by a Jersey photographer of Sir Ernest William Robinson (1862-1924), 5th Baronet.[Gelatin silver print, oval image, with fold across centre, 52x73mm]. Full-face view of W.H. Thornycroft's statue of Lord Curzon, unveiled in Calcutta in 1913. This view is taken in front of a backcloth before the statue was raised on its plinth. Full-leather bound carte-de-visite album (binding weak), measuring 240x295mm and fastened with brass clasps. Inscribed on front free endpaper: 'To Mrs Powell, with kind wishes from the Ward Room Officers of H.M.S. Defence Octr. 11th 1862.' The album contans 179 carte-de-visite portraits of naval officers, midshipmen and others by various photographers (mainly English but a few South American), almost all unidentified. Among the few captioned prints are portraits of Admiral Richard Ashmore Powell (1816-1892), his mother Mrs Thomas Powell and his wife Mrs Powell (n�e Skelton).[Albumen prints]. Full-lenght seated portrait, with a young servant standing beside him. Full-length, standing in front of Union Jack. Full-length. Full-length cabinet portrait, showing Curzon posed in meditative attitude. Full-length cabinet portrait, standing in front of a throne. Full length cabinet portrait of a lady, possibly Edith Helen Barnes' mother. This appears to be a later copy of an earlier photograph, possibly dating from the early 1860s. Duplicate at Photo 556/3 (167). Full length cabinet portrait of the Chief of Miraj with his wife, son and daughter. This is certainly the same figure seen in Photo 127 (34) and there identified as Ganpatrao, Chief of Miraj. Full-length cabinet portrait of two men. Colonel Frederick Bailey is seated on the left, with an unidentified companion standing beside him.[Albumen print, 98x145mm]. Full-length carte-de-visite portrait, his left arm resting on a table. Alexander Charles Hay (d. 1893), 'a young officer who had served with General Whitlock's force during the Mutiny, and who showed a mastery of details, and a power of analysis which at once brought him to my notice as the most promising of all the junior men in the Commission. He was selected by me as Secretary, and both in this office, and afterwards when a Superintendent, bore a very high reputation...He married a daughter of Major Dobbs, from whom he had imbibed strong evangelical notions, which gave an ascetic tendency to his nature...'[Albumen print, Full-length carte-de-visite portrait, in uniform, of an unidentified figure. A suggested identification given on the rear of the portrait is Chandra Sham Sher Jang Raha, but the date of c.1900 is certainly too late. Full-length carte-de-visite portrait, in uniform, of Lieutenant-General Ranbir Jang of Nepal, a son of Sir Jang Bahadur. Full length carte-de-visite portrait, in uniform, of Maharaja Ranudip Singh (d.1885), Prime Minister and Commander-in-Chief, Nepal 1877-85. Full-length carte-de-visite portrait, in uniform. Identity uncertain. General Padma Jang Bahadur was a son of Sir Jang Bahadur. Full-length carte de visite portrait, probably of W.D.A.R. Short (1821-1866), Bengal Engineers from 1842. The key at the beginning of the album lists a portrait of 'Short' in this position, and William Short is the only figure to which this could refer. However, the signature beneath the print is difficult to interpret as this name. Full-length carte-de-visite portrait, seated on wooden steps.[Albumen print, 58x90mm]. Full length carte-de-visite portrait, seated with hookah. Full-length carte-de-visite portrait, standing beside a throne with arms in the form of lions. Sir Kalb Ali Khan (1832-1887), was Nawab of Rampur from 1864-87. For another copy of this print, see Photo 127 (14).[Albumen print, 58x93mm]. Full-length carte-de-visite portrait, taken in the open air, of George Austen Paterson Younghusband (1831-1858), brother-in-law of Clara Jane Younghusband and uncle of Francis Younghusband.[Albumen print, 53x72mm]. Full-length carte de visite portrait. The signature beneath the print might be that of Stephen Pott, Bengal Engineers from 1833. Full length carte-de-visite portrait in robes of office. Defective print (blemish on cheek): a better copy at Photo 127 (1). Full-length carte de visite portrait of Captain James Crofton, Bengal Engineers 1844-82. Full-length carte-de-visite portrait of Clara Jane Younghusband with her daughter Ethel seated on her knee. A portrait clearly taken on the same occasion as print 8a.[Albumen print, 60x90mm]. Full-length carte de visite portrait of Evelyn Howell. Full-length carte-de-visite portrait of George Crawford Hogg's [?]son. Full-length carte-de-visite portrait of Major-General Olaus John McLeod Farrington (c. 1821-1882), Indian Army 1840-77. With brief newspaper obituary and handwritten note reading: 'John [Younghusband] first knew General Farrington at Shikarpore, Sind, 1845. Was at his marriage in 1847. His wife died in 1858 at Simla. He was married again in 1865. died 5th Novr. 1882, within one week of 61 years of age.'[Albumen print, 58x89mm]. Full-length carte-de-visite portrait of Sergeant-Major George Carter (b. 1822), Indian Army 1839-61, seated at a desk holding a book in his right hand.[Albumen print, 58x94mm]. Full-length carte-de-visite portrait of the couple. Nelly is presumably the wife of Hardinge Hogg. Full-length carte-de-visite portrait of the Hon. John Constantine Stanley (1837-1878), ADC to Lord Canning. He is photographed sitting at a table reading a document.[Albumen print, 57x86mm]. Full-length carte-de-visite portrait of the two women, lightly hand-coloured. Full-length carte-de-visite sized portrait of Captain George Scott Hills in fancy-dress. Full-length carte-de-visite sized portrait of Capt Champlain. Full-length carte-de-visite sized portrait of Capt Logan. Full-length carte-de-visite sized portrait of Capt Logan in fancy dress. Full-length carte-de-visite sized portrait of Colonel William Arden Crommelin in fancy dress. Full-length carte-de-visite sized portrait of John and Charles Chamberlain. Full-length formal portrait, seated on throne and holding sword. Full-length formal portrait, standing with sword. Full-length formal standing studio portrait (signed by sitter), of Maharaja Prodyat Kumar Tagore (b.1873), Honorary Presidency Magistrate and Municipal Commissioner for Calcutta. Full-length formal standing studio portrait (signed by sitter), of Maharaja Sir Jotindra Mohan Tagore (1831-1908), Member of the Supreme Legislative Council of India 1877, 1879 and 1881. Full-length formal studio portrait in state robes. Full-length group portrait, in uniform. The following figures are identified: Sergt Maj Summers, Quarter Master Sergt Burke, J. Rougham, J. Neal, S. Lamslad (?).[Albumen print]. Full-length group portrait.[Albumen print.]Exhibited Victoria and Albert Museum, London, 'The Arts of the Sikh Kingdoms', 25 March - 25 July 1999. Mounted and stored separately in Box 394 at Shelf 62K. Full-length group portrait of European officers posed in front of a cannon. Identifications are given as follows: Charles Arthur Madan Warde, Henry Girardot, Dr James Browne, Francis William Stubbs, Charles Vyvyan Cox, Andrew Douie.[Albumen print]. Full-length group portrait of Naval Academy students, photographed during a fencing drill in naval uniforms and training gears on a beach.[Albumen print, 309x380mm]. Full-length group portrait of naval officers, in uniforms, posing in front of a building.[Albumen print, 303x375mm]. Full-length group portrait of naval officers in uniforms, some holding swords, on the deck of the ship.[Albumen print, 309x383mm]. Full-length group portrait of students, instructors and the military band, in uniforms. Each infantry lined up, in a row, one after another, in the Academy's courtyard (Print with over all spotting).[Albumen print, 303x 384mm]. Full-length group portrait of students, in uniforms, in front of the Academy building.[Albumen print, 309x372mm]. Full-length group portrait of students, in uniforms, in groups of two, performing fencing exercises in the academy's courtyard (similar to prints 24,25,26,27 and 28).[Albumen print, 308x381mm]. Full-length group portrait of students, in uniforms, in groups of two, performing fencing exercises in the academy's courtyard (similar to prints 24-29).[Albumen print, 308x385mm]. Full-length group portrait of students, in uniforms, in groups of two, performing fencing exercises in the academy's courtyard (similar to prints 24-30).[Albumen print, 306x371mm]. Full-length group portrait of students, in uniforms, in groups of two, performing fencing exercises in the academy's courtyard (similar to prints 24-31).[Albumen print, 309x381mm]. Full-length group portrait of students, in uniforms, in groups of two, performing fencing exercises in the academy's courtyard (similar to prints 24-32).[Albumen print, 304x383mm]. Full-length group portrait of students, in uniforms, performing fencing exercises in the academy's courtyard.[Albumen print, 304x382mm]. Full-length group portrait of students, in uniforms, performing fencing exercises in the academy's courtyard. Side view of the Academy entrance (similar to prints 24,25,26 and 27).[Albumen print, 308x381mm]. Full-length group portrait of students, in uniforms, performing fencing exercises in the academy courtyard (print with overall spotting. Similar to print 24).[Albumen print, 308x376mm]. Full-length group portrait of students, in uniforms, practicing fencing in the academy courtyard. Side view of the Academy entrance (similar to print 24 and 25).[Albumen print, 305x383mm]. Full-length group portrait of students, some photographed standing and some doing exercises. The students in gym uniforms are exercising in a courtyard surrounded by buildings. Their teacher is standing among the students, close to the centre of the photograph.[Albumen print, 307x384mm]. Full-length group portrait of students and staffl. The students are divided into four lines, with their teacher standing at the back. The students and staff photographed in their uniforms and with their swords, on a beach (print with spotting).[Albumen print, 308x385mm]. Full-length group portrait of students of the Imperial Merchant Naval Academy and their headmaster dressed in naval uniforms, standing in front of a building.[Albumen print, 308x377mm]. Full-length group portrait of the crew, in uniforms, on the deck of the ship.[Albumen print, 301x384mm]. Full-length group portrait of the faculty and the commanders of the Imperial Naval Academy, posing in front of the stairs of a building, all dressed in naval uniforms (print with overall spotting).[Albumen print, 303x382mm]. Full-length group portrait of the Marine Batallion, in naval uniforms. The group parading along the harbour, close to some buildings and engineering work. The band in the front is followed by naval officers. A separate group of parading officials, on the right hand-side of the photograph, is followed by a standard bearer (Print with slight spotting).[Albumen print, 251x321mm]. Full-length group portrait of the mariner's flag bearer in the middle and his four guards positioned equally on either side of him, wearing naval uniforms. They are photographed in front of a building (possibly the Naval Academy on Heybeliada, Istanbul, Turkey). Print with slight spotting.[Albumen print, 323x244mm]. Full-length group portrait of the students and staff. Photograph taken during a rifle drill, with students and staff in uniforms and with weapons, on a beach. Print with overall spotting (similar to print 24).[Albumen print, 307x376mm]. Full-length group portrait of the students and teachers, lined up in a row, in naval uniforms. The group is standing in front of the academy building in the courtyard.[Albumen print, 251x324mm]. Full-length informal portrait, seated in the Durbar arena, in conversation with an unidentified European. Full-length informal portrait, seated in the durbar arena. Full-length informal portrait, standing in garden. Full-length informal portrait, standing in the Durbar arena. Full-length marble statue of Babington, seated reading papers.[Albumen print, 96x146mm]. Full-length photograph of the Viceroy and the Nawab photographed inside a tent at the camp at Gagri during the duck shoot. Full-length portrait, in costume. Full-length portrait, in unform, of Sergeant Thomas Cook. Full-length portrait, in uniform, of Capt Patrick Charles Anderson (d.1882), Bengal Artillery, seated with a child on his lap.[Albumen print]. Full-length portrait, in uniform, standing at attention. Full-length portrait, in uniform, standing at attention. Full-length portrait, in uniform, standing at attention. Full-length portrait, in uniform. Full-length portrait, in uniform. Full length portrait, in uniform. With (l. to r.): Captain Fawkes; Sir Philip Wodehouse; ---; ---; Captain Jervoise; William Lee-Warner. Full-length portrait, oval vignette. Full-length portrait, posed at a table. Small faded print. Full-length portrait, posed with his son at an unidentified fort. Full-length portrait, probably taken in London. Full-length portrait, probably taken in the photographic studio in the palace at Mandalay. Caption continues: 'This is a photograph taken privately by Miss Calogreedy (Mrs H.C. Noyce) who was for seven years Maid of Honor to Queen Sup'ayalat at Mandalay. It represents the King and Queen in full court costume'. Full-length portrait, probably taken on the same occasion as print 28. A rather faded print.[Albumen print, 73x105mm]. Full-length portrait, seated, with attendant. Full-length portrait, seated alone in front of wall. Full-length portrait, seated at a table. Very lightly hand-coloured. Charles Bromhead Bannerman was a Lieutenant in the Bombay Army. Full-length portrait, seated at a table reading despatches. The open box on the table is labelled 'Mily. Dept. No. 12'. There are also a number of books, including 'China Coast' and Kaye's 'Papers and Correspondence of Lord Metcalfe'. An additional note beneath the print reads, 'Lord C. set much store on my uncle Lord Metcalfe's opinions & always carried this volume of his papers with him for reference.' Photograph uncredited, but probably by Rowe.[Albumen print, 220x264mm]. Full-length portrait, seated beside an unidentified European. Full-length portrait, seated cross-legged behind a low table. Photograph unsigned, but possibly by Bourne & Shepherd, since a duplicate copy appears in their 1903 Delhi Durbar album, Photo 430/78 (42). The Maharaja's date of birth is there given as 1860. Full-length portrait, seated cross-legged on cushions. Another copy of this print, in slightly brighter condition, at Mss Eur F157/823 (10). Full-length portrait, seated in Bailey's house at Chumbi, with two servants standing behind him. Full-length portrait, seated in courtyard in front of wall. Full-length portrait, seated in front of a teak-built thatched house. The term Panthay was applied to the Chinese Mahommedans who brought caravans in from Yunnan. See Hobson-Jobson and Scott's Gazetteer. Full-length portrait, seated in front of a wall in the garden of the agency at Gyantse. Full-length portrait, seated in front of the house near Gyantse. Full-length portrait, seated in front of the house near Gyantse. Full-length portrait, seated in front of wall in British Agency compound. Full-length portrait, seated in front of wall in garden. Full-length portrait, seated in his pavilion.[Gelatin silver print, 92x141mm]. Full-length portrait, seated inside house. Miss Macdonald (forename unknown) was the daughter of David Macdonald, British Trade Agent in Tibet. Full-length portrait, seated in the garden of Bailey's house at Chumbi. Full-length portrait, seated in the open air, with his staff standing around him. Full-length portrait, seated in the open air. Full-length portrait, seated on a chair. Full-length portrait, seated on a low chair.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Mounted and stored separately in Box 662, Shelf 92C. Full-length portrait, seated on a throne, with foot on stool. Print signed by photographer at bottom right. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, 'The History of the Imperial Assemblage at Delhi' (London [1877]). Other copy negs at B. 5132 and B.4896. Full-length portrait, seated on a throne.[Platinum print, 226x294mm].Exhibited Victoria and Albert Museum, London, 'The Arts of the Sikh Kingdoms', 25 March - 25 July 1999. Mounted and stored separately in Box 394 at Shelf 62K. Full-length portrait, seated on a verandah. The photograph is possibly that referred to in Scott's diary for 2 January 1890: 'Ta Hsang Le...Photographed Sawlawi. At night tried developing with red blackout in bath room but fogged the plate and gave it up' (OIOC Mss Eur F278/6 f. 2).[Albumen print, 100x166mm]. Full-length portrait, seated on a verandah with children in background. Full-length portrait, seated on cushions. Mounted on card with Tibetan inscription and Dalai Lama's seal. Duplicate at Mss Eur F157/837 (62), where the date of the photograph is supplied. Full-length portrait, seated on cushions. Full-length portrait, seated on ground with violin-like instrument. Full-length portrait, seated on rug, with an attendant holding an umbrella above him. Photograph taken at the same location and presumably occasion, as print 147.[Albumen print, 118x174mm]. Full-length portrait, seated on the ground, with attendants behind. Sow Sein Bu (b. c. 1857) succeeded his brother Kun Pwin in 1885, and is described by Scott as 'Undoubtedly loyal. Shrewd, sensible, and anxious to be of service, either actively or by giving advice' (OIOC Mss Eur F278/66, p. 11).[Albumen print, 117x176mm]. Full-length portrait, seated on the verandah of Bailey's house at Chumbi. Full-length portrait, seated on the verandah of the British Mission House, Kabul.[Gelatin silver print, 85x106mm]. Full-length portrait, seated on throne with right leg raised on footstool and holding sword. Second copy neg at B.4508. Full-length portrait, seated on verandah, presumably taken on the same occasion as prints 24-27. The headdress in this portrait is a much more elaborate affair. Full-length portrait, seated on verandah of house. Full-length portrait, seated with children and servants in front of an unidentified building. Full-length portrait, seated with rifle.[Albumen print]. Full-length portrait, showing Lady Canning standing beside a wicker chair on an earth floor against a plain backdrop. A note in Lady Waterford's hand beneath the print reads: 'This was Lady C.'s serge dress for camp wear. Argus pheasant plume in hat.' Photographer uncredited, but possibly by Oscar Mallitte.[Albumen print, 158x244mm]. Full-length portrait, showing the Marquess of Zetland seatedbetween two Chinese men. Reproduced as the frontispiece to volume 1 of The Earl of Ronaldsay, 'A Wandering Student in the Far East' (2 vols, Blackwood, Edinburgh and London, 1908). See also p. 64, where Zetland describes setting out from Ichang with 'two Chinese servants picked up by Belt at Hankow; Mr Chou, commonly known as 'Joe', my faithful and accomplished interpreter; and Peter, my Chinese cook and body-servant, equipped to a remarkable degree with all the virtues and most of the vices common to his kind.' If Zetland's dating is accurate, this portrait would have been taken after his party had crossed the Burmese frontier. Full-length portrait, similarly posed to his father in print 4. Full-length portrait,Sir Saw Hke standing beside his wife. Full-length portrait, sitting at a table facing right. Full-length portrait, sitting in an armchair. Full-length portrait, sitting on a chair facing right. Full-length portrait, sitting on a chair with a dog on his lap. This is possibly the C.C. Anderson who superintended the Cawnpore Terminal of the Ganges Canal. Full-length portrait, sitting on a garden bench in England. Full-length portrait, standing beside a chair. Full-length portrait, standing beside a portable bookshelf. Sir Henry Bartle Edward Frere (1815-1884) was a member of the Governor-General's Supreme Council from 1859-62. This portrait was also used as the frontispiece illustration of the 'Journal of the Bengal Photographic Society', vol. 1, no. 1, 1 May 1862, where it is credited to Rowe (see note in introduction).[Albumen print, 136x202mm]. Full-length portrait, standing beside a table. Full-length portrait, standing beside horse.[Gelatin silver print (modern copy), 188x242mm]. Full-length portrait, standing beside table seen in print 40. Full-length portrait, standing between a table and chair. Full-length portrait, standing by a table. The subject resembles the women in Print 59 who, it is suggested, may be T.G. Glover's wife. Full-length portrait, standing facing left. Full-length portrait, standing facing right. Full-length portrait, standing facing the camera. Full-length portrait, standing in a garden. Miss E.M. Mauger was a missionary for the American United Presbyterian Mission in Sialkot. Full-length portrait, standing in courtyard. Full-length portrait, standing in front of a grass hut. Full-length portrait, standing in front of a house. 'He is of the Chang-ling Tsong-kang family. Outer robe of chocolate colour (gya-muk). Inside coat and trousers of green or mole coloured Chinese brocade (Tun-do). Taken by Phipraj. Brown boots.' Phipraj was presumably one of Bell's assistants. Full-length portrait, standing in front of a house. Full-length portrait, standing in front of a tent. Full-length portrait, standing in front of Bailey's house. Full-length portrait, standing in front of house.[Gelatin silver print, 92x140mm]. Full-length portrait, standing in front of tent. (Ancient Persis Map C2). Full-length portrait, standing in front of tent. (Ancient Persis Map C2). Full-length portrait, standing in front of throne. Full-length portrait, standing in front of wall, probably at Tuna. Full-length portrait, standing in garden. Slightly unsharp.[Gelatin silver print, 85x114mm]. Full-length portrait, standing in the courtyard of a house. Younghusband had talks with the Ta Lama on 29 July, who had come from Lhasa to attempt to dissuade the British mission from marching on to the capital. These took place while Younghusband's forces were crossing the Tsang-po at Chaksam. The Tibetan delegates were at Chisul, on the other side of the river, and the talks presumably took place there. See Francis Younghusband,' India and Tibet' (1910), pp. 235-50. Full-length portrait, standing in uniform holding a spear. Full-length portrait, standing in uniform with rifle. Full-length portrait, standing on a small cairn of rocks. Full-length portrait, standing on Phari Dzong. Full-length portrait, standing on verandah, rear view, showing details of head dress. Full-length portrait, standing on verandah. Full-length portrait, standing to attention, in uniform. Full-length portrait, standing with a bicycle. Bose was involved in the Delhi bomb incident of Dec 1912 in which the Viceroy, Lord Hardinge, was nearly killed. Full-length portrait, standing with his right arm resting on a pedestal. Full length portrait, the Khan of Kalat seated, Sir Assad Khan standing to one side, with a servant holding a fly whisk standing on the other side. Full-length portrait.[Albumen print, 83x109mm]. Full-length portrait. An extract from a Guildford newspaper announcing the death of Lieut Colonel James Henry Hugo at the age of 72 is pasted above the print. Full-length portrait. Copy print of a signed photograph. Full-length portrait. Harriet Louisa Gubbins (ne� Nepean), who married Martin Richard Gubbins in 1841, is sitting facing right. Her daughter, Norah Louisa, is standing on the right. In 1861, she married Col Charles Vernon Oxendon of the 3rd Bn Rifle Brigade at Agra. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. Full-length portrait. The Gaekwar stands next to a table, his right hand on his belt, his left hand holding his sword. Full-length portrait. The Maharaja is sitting in a chair, his right hand resting on a volume of the Encyclopaedia Britannica. Full-length portrait. The Maharaja is sitting on a chair, his feet resting on a stool. This is probably by Deen Dayal. Full-length portrait. The Nawab is standing between a table and chair. The photographer's label on the mount reads: 'H.N. Madon, photographer, picture frame maker & dealer in photo goods, Mooltan'. Full-length portrait. The Nawab is standing between a table and chair dressed in different clothes than in Print 1. The photographer's label on the mount reads: 'H.N. Madon, photographer, picture frame maker & dealer in photo goods, Mooltan'. Full-length portrait. The young Gaekwar stands with his right arm resting on a table, his left hand holding his sword. Full-length portrait. The young princess sits cross-legged on a chair. Full-length portrait. Zetland stands with a gun on his back, holding a telescope which he rests on a walking stick. The background has been touched out. Full-length portrait (copy print) of the 13th Dalai Lama, seated in a garden. Reproduced in Sir Charles Bell, 'Portrait of the Dalai Lama' (London, 1946), p. 379. In the preface, Bell credits the photograph to Mrs Williamson, describing it as 'The Dalai Lama among his hollyhocks, about three months before he died [in December 1933].' The photograph was taken by (Sir) Frederick Williamson ICS, Political Officer, Sikkim, who visited Lhasa in 1933. A copy of this print in the Williamson Collection in the Cambridge University Museum of Archaeology and Anthropology is dated 21 September 1933. Bell's caption, and the date (1932) on the back of the print, appear to be incorrect[Gelatin silver print, 116x241mm]. Full-length portrait (oval vignette), showing the young Maharaja Sir Chamrajendra Wadiyar standing beside a table. See also print 8. Full-length portrait (oval vignette) of a young girl and boy. Full-length portrait in half-profile, seated at a small table. For a note on the attribution of this photograph to Rowe, see introduction. Sir Robert Montgomery (1809-1887), Indian Civil Service 1828, was Lieutenant Governor of the Punjab 1859-65. Probably photographed in Calcutta. The print is in good condition apart from a two-inch tear at the bottom right-hand corner.[Albumen print, 207x277mm]. Full-length portrait in ICS uniform. Full-length portrait in military uniform of Sir Madhava Rao Sindhia (1876-1925), Maharaja of Gwalior. With aides and a European official standing behind him. Stereoscopic pair. Full-length portrait in polo kit of Captain Backhouse (The Buffs), Captain O'Malley (North Staffordshire Regt), Major Lister (The Buffs), Harold Wilberforce-Bell. Full-length portrait in three-quarters profile, seated at a table reading. Sir William Thomas Denison (1804-1871) was Governor of New South Wales 1854-61 and Governor of Madras 1861-66. Possibly photographed at Calcutta, where he had been summoned in December 1863 to act as Viceroy on the death of Lord Elgin.[Albumen print, 221x282mm]. Full-length portrait in uniform. Full-length portrait of (Sir) James Glasgow Acheson and Fennell (probably A.E.S. Fennell), seated on a windowsill, probably at the British Mission House, Kabul.[Gelatin silver print, 87x116mm]. Full-length portrait of (Sir) Kishan Singh, Maharaja of Bharatpur, dressed in formal robes and turban. He is probably about 2-3 years old in this photograph. Born in 1899, he succeeded as a minor in 1900, and ruled from 1918 until his death in 1929. Full-length portrait of A.C. Farran standing in the porte-coch�re of his bungalow at the Karnatak College, Dharwar (Dharwad). Full-length portrait of A.S.M. Taylor reclining in a metal-framed canvas chair, resting a bandaged ankle. A somewhat faded print. Full-length portrait of a bearded ascetic, standing in front of a tree, with a leopard skin at his feet: 'This 'Edie Ochiltree' of Nepal, the 'patriarch' of holy beggardom, is a special prot�g� of Sir Jung Bahadur. Policy may have as much as piety to do with the Maharaja's ostentatious consideration for this old rascal...'[Albumen print, 96x136mm]. Full-length portrait of a boy. Full-length portrait of a European officer of the Bengal Artillery (possibly F.W. Stubbs: compare print 16), in uniform, posed beside his mount. Full-length portrait of a group of Addiscombe cadets. Full-length portrait of Alexander Stephen Creyke R.E. and Mayda Lyall, seated on a sofa with gardening implements in front of them.[Albumen print, 161x139mm]. Full-length portrait of Ali Murad Khan (1804-1894), Mir of Khairpur 1843-94, seated and holding a gun in his lap. This is a print from the same photograph seen in a cropped version (and printed from a cracked negative) at Photo 265 (3). The portrait is there dated 1892. The album is credited to F.L. Wadhumal, although it is doubtful whether all the photographs are his own work. Full-length portrait of a minor chief. Full-length portrait of a Mrs Storrs-Fox. Full-length portrait of an Addiscombe cadet, sitting facing left. A later annotation reads: 'James L.L. Morant, 1857-9'. Full-length portrait of an Addiscombe cadet, standing with his head turned to the right. Later annotation reads: 'James L.L. Morant, 1857-9'. Duplicate at Photo 42 (86). Full-length portrait of an Afghan man standing in a garden. He is possibly part of the Amir's delegation to the Ambala durbar, although he doesn't appear in any of the groups Full-length portrait of an Indian officer. Full-length portrait of an unidentified child seated on a throne. Full length portrait of an unidentified officer, taken in the open air. Full-length portrait of a servant holding a silver plate. Full-length portrait of a smiling monk posed in a doorway. Full-length portrait of a surgeon. Full-length portrait of a Tibetan woman standing in front of a grass hut. Full-length portrait of a woman holding a parasol. Full-length portrait of a woman standing in a doorway. 'Mrs Rose' is inscribed on the negative. She lived in a cottage in the grounds of Addiscombe. Full-length portrait of a young boy standing beside a chair. Full-length portrait of a young monk standing among bamboos, probably at Lhasa.[Gelatin silver print, 110x154mm]. Full-length portrait of Bailey, standing in front of a wall at Tuna during the Younghusband Mission to Tibet. Mounted on card with print 4. Duplicate of Mss Eur F157/458 (81). Full-length portrait of Bailey, standing in front of a wall at Tuna during the Younghusband Mission to Tibet. Mounted on card with print 5. Duplicate of Mss Eur F157/458 (82). Full-length portrait of Bailey standing in front of a stone wall. Full-length portrait of Bailey standing in front of a wall, wearing a heavy Chinese coat and fur hat. Probably photographed at Tuna. Full-length portrait of Bell wearing a somewhat surreal mixture of Tibetan and European protective clothing: 'I am wearing a Depon's fur hat, face mask of silk, an extra heavy waterproof, Tibetan gloves of cats' fur lined with wool, Bedford cord riding breeches and Gilgit boots.' Full-length portrait of boy, seated on cushions. Mahbub Ali Khan (1866-1911) succeeded as a minor in 1869 and ruled 1884-1911. This portrait was presumably taken around the time of his accession. Photographer uncredited, but similar to work by Dosabhoy.[Albumen print, 108x146mm]. Full-length portrait of Brigadier Sir Hissan-ud-din posed with three fish. A note written in the negative reads 'Caut [sic] by Sir H.D. at Kokar Nogh - on 9th July 1933.'[68x103mm]. Full-length portrait of Canning sitting at a desk, c.1860. This Bourne & Shepherd print is from an original negative or print by an unknown photographer. Full-length portrait of Captain G.A. Nevill, wearing shorts and a pith helmet and holding a wooden staff. Nevill was Political Officer and head of the exploration and surveying mission to northern Assam. This is an excellent portrait of the explorer in the field. Probably photographed at or near Aprunyi. Full-length portrait of Captain Samuel Fritche Blyth of the 35th (Royal Sussex) Regiment of Foot, who sits holding a rifle. Full-length portrait of Charles Edwin Harvey (d. 1885), Royal Engineers from 1850, Charles George Gordon (1833-1885), 'Gordon of Khartoum', and Sir Edward Stanton (1827-1907), Royal Engineers 1844-81. Gordon stands in the centre. The other two figures are seated.[Albumen print, 129x153mm]. Full-length portrait of Charles Grant, sitting on a chair holding a cane. Full-length portrait of Clarmont Skrine (in uniform), with his wife Doris Skrine (holding a cat), standing in front of the verandah of their house.[Gelatin silver print, stamped 'Royal Studio Ernakulam' on reverse, 147x201mm]. Full-length portrait of Colonel Chao, standing in front of a tent in the mission camp. Colonel Chao was the Chinese delegate who replaced Mr Ho in negotiations with the British. Full-length portrait of Colonel Henry Sandham, standing beside his seated wife.[Albumen print, 134x148mm]. Full-length portrait of Curzon's father. Full-length portrait of Curzon's mother who died in 1875. Full-length portrait of Dr Neve standing with Stein's two dogs on the front steps of a house. This is Dr Ernest Frederic Neve (1861-1946), Consulting Surgeon at the Kashmir Mission Hospital. The dogs are Dash V (an airedale, not Stein's usual fox terrier) and a Powinda called Spin Khan, bought as a guard dog to protect Stein's camp at Mohand Marg. Full-length portrait of Dr Thomas Saumarez Lacy (1816-1884), Garrison Surgeon, Agra, who sits at a table facing right. Full-length portrait of E.H. Colebrook with 'Geshadri'. Full-length portrait of figure masked for protection against the wind. Full-length portrait of five boy petty officers on parade. Full-length portrait of four buglers, in uniform. Full-length portrait of G.C. Hogg, standing in uniform beside a table. Full-length portrait of General Sir Charles and Lady Monro standing at the entrance to the Commander-in-Chief's residence. For another copy of this print, see page 1.[Sepia toned print, 229x280mm]. Full-length portrait of General Sir Charles Monro and Lady Monro standing at the entrance to Snowdon, the Commander-in-Chief's residence. Another copy at page 36.[Sepia toned print, 227x277mm]. Full-length portrait of Harriet Gubbins. Full-length portrait of Hindmarsh standing beside an armchair in a garden. Full-length portrait of Huddleston seated at a table with his papers. Full-length portrait of Indian officer and his wife, seated at a small table.[Albumen print, 186x154mm]. Full-length portrait of Kun-pel La, seated in front of curtains. Kun-pel La exercised power briefly in Tibet after the death of the 13th Dalai Lama in 1933, but was then arrested and tried. He was exiled to a monastery in Kong-po province, and later escaped to Kalimpong where he worked as a warehouse manager in a Tibetan wool store. The photograph was possibly taken in Kalimpong. Reproduced in Sir Charles Bell, 'Portrait of the Dalai Lama' London, 1946), p. 397.[Gelatin silver print, 114x184mm]. Full-length portrait of Kusho Palhese, standing beside the same wall as Achuk Tserung in print 30. Probably photographed during Bell's mission to Lhasa, on which Kusho Palhese served as his attach�. (Tibet Past and Present, p. 94). Full-length portrait of Lady Georgiana Campbell, seated with her baby daughter Annie Charlotte in her lap. Her son Charles stands beside her. Prints 17a and 18 appear to have been taken on the same occasion, although dated 1859 and 1860 respectively. [Albumen print, 128x165mm]. Full-length portrait of Laurence Sulivan (1783-1866), barrister and Deputy Secretary for War 1826-51. The couple are posed in the garden of Broom House, Mrs Sulivan seated, her husband standing behind her.[Albumen print, 81x113mm]. Full-length portrait of Lieutenant Henry Railey Beatson of the 35th (Royal Sussex) Regiment of Foot. Later annotations mistakenly suggest that this is Surgeon-General George Steward Beatson. Full-length portrait of Madhava Rao Sindhia around the time of his succession (aged 10). He stands facing left, holding a sword in his right hand, his left arm resting on a table. Full-length portrait of Maharaja Ranudip Singh, who sits facing right. Full-length portrait of Maharaj Dhiraj Prithwi Bir Bikram Sah as a child. He stands on a chair facing left, his left hand on his sword. Full-length portrait of Major Charles Warde of the 68th Native Infantry and cantonment joint magistrate at Agra. He married Mary Warde (ne� Fisher) in 1859. Small faded print. Full-length portrait of Mary Curzon's sister who is holding a young goat. Full-length portrait of Mary Ellis standing with a bicycle. Full-length portrait of Maung Khan seated on steps of verandah.[Gelatin silver print, 74x99mm]. Full-length portrait of Meru Gyalwa Depon (General), posed in front of a wall in the Gyantse Agency compound. He can be identified by the named portrait at Mss Eur F157/462 (106). Full-length portrait of Muhammad Ayub Khan standing in a garden. (Ancient Persis Map A2). Full-length portrait of musician playing stringed instrument.[Gelatin silver print, 105x155mm]. Full-length portrait of Nihal Singh as a child. He sits holding a sword, his right arm resting on a table on which there is a cartes-de-visite album. Full-length portrait of Padma Jang Bahadur, who stands on the left next to his wife(?). The Rani is sitting on the right wearing a full-gathered dress and shawl. Full-length portrait of Philip James Griffiths Pipon and Sydney Frederick Muspratt standing in a garden, probably at the British Mission House, Kabul.[Gelatin silver print, 89x114mm]. Full-length portrait of Qasid, standing beneath a tree. (Ancient Persis Map B1). Full-length portrait of Ranbir Singh (c. 1829-1885), Maharaja of Kashmir 1857-85, seated on a throne.[Albumen print, 97x136mm]. Full-length portrait of shikari standing with two ibex, held up by their necks. Full-length portrait of Sidkeong Tulku, Maharaj Kumar of Sikkim, standing in front of a telescope mounted on a tripod at Khamba Dzong. Full-length portrait of Sir Bhanwar Pal. He sits facing right, his feet resting on a footstool, in his right hand is a sword and a shield rests against his chair. Full-length portrait of Sir Clarmont Skrine, in diplomatic service uniform, standing on the verandah of a house at Tehran.[Gelatin silver print, 99x133mm]. Full-length portrait of Sir Francis Younghusband standing beside his bride Helen Augusta Magniac, who is seated on a chair in the open air. The couple were married at Datchet Church near Windsor on 11 August 1897.[Albumen print, 194x285mm]. Full-length portrait of Sir Geoffrey Ramsden wearing an Afghan coat. Full-length portrait of Sir Henry Dobbs, in civil service uniform, standing in the verandah of the British Mission House at Kabul.[Silver printing-out paper, 77x135mm]. Full-length portrait of Sir Sujan Singh who sits facing left, his left arm resting on a table, a sword in his right hand.Stored separately in Print Room planchest 6C.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Full-length portrait of Sir Vibhaji Ranmalji who stands facing left, his right hand holding his sword, his left hand resting on a chair. Full-length portrait of Soole, standing with a large Burmese cheroot.[Printing-out paper, 64x82mm]. Full-length portrait of Stein standing with the two dogs (Dash V and Spin Khan), in front of the house seen in print 4. Evidently taken on the same occasion. Full-length portrait of Susan Eliza Machell (ne� Nuthall), wife of Captain Lancelot Machell, Commissary of Ordnance, Agra. Small faded print. Full-length portrait of the abbot, seated behind a low wooden table, the front elaborately carved with the figure of a dragon. Three monks, one holding a small dog, stand behind. Second copy at print 18. Mount stamped: 'Copyright Mt. Everest Committee.'[Brown-toned carbon print, 329x442mm]. Full-length portrait of the couple sitting at a table. J. T. Prichard was editor of the Delhi Gazette, Agra. Full-length portrait of the family of the Chief of Pang Mi State, grouped on the verandah also seen in prints 2 and 3. Full-length portrait of the four men, seated in the garden of the British Mission, Lhasa.[Gelatin silver print, 154x104mm]. Full-length portrait of the four men, standing beneath a tree. Possibly photographed at the Zhob Levy post at Mungachar. Full-length portrait of the Gubbins family. Full-length portrait of the judge, Alexander Ross, and his wife. Full-length portrait of the man seen in print 249, with his wife standing beside him. She wears the traditional ornate head-dress. Full-length portrait of the Myosa seated on a camp chair in front of tents, with attendants seated on the ground beside him.[Albumen print, 239x189mm]. Full-length portrait of the Raja of Khapalu, seated in the open air smoking a hookah. With his son and a munshi beside him. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 87, there titled, 'The Rajah of Kapaloo smoking the royal pipe.' For another portrait taken on the same occaion, see Photo 364/5(12). Full-length portrait of the Regent seated on a wooden throne in his summer palace.[Gelatin silver print, 155x105mm]. Full-length portrait of the Reverend William Simpson (1828-1902), Chaplain of St George's Church, Agra, and amateur photographer who contributed to H.H. Cole's Illustrations of buildings near Muttra and Agra, 1873. Full-length portrait of the Rev Storrs-Fox sitting in a boat. Full-length portrait of the Right Reverend Henry Whitehead (1853-1947), Bishop of Madras 1899-1922, standing on the steps of the porch of the house of Hunt's friend and colleague Cyril Lloyd James (Chief Engineer of the Nizam's Guaranteed State Railway). Four stereoscopic prints and one stereo half of the same image.[Silver printing-out paper]. Full-length portrait of the Sayadaw ('teacher' or senior monk), seated cross-legged in a wooden chair.[Albumen print, 117x175mm]. Full-length portrait of the seated Afghan sirdar, probably at Quetta. Full-length portrait of the son of the ex-Popon of Chumbi (see print 4), standing in the garden of Bailey's house at Chumbi. Full-length portrait of the three figures, the Nono standing, his wife and daughter seated on the carpet on either side of him. Egerton's earlier group of the Nono's family (print 34) had been taken under the impression that the young girl was the daughter: 'When I had finished the picture [print 34], I invited the little girl to come to my tent with the Nono's youngest son...to receive a present I intended for them. 'Oh,' said the Nono, 'I will send a bigger one,' and a great bouncing girl of eighteen or twenty made her appearance; and it then came out that the little girl in the picture was not the daughter, but the grand-daughter, the former having pretended tobe bashful on the occasion. The bashfulness, however, was quite over now, and she came down with her brother to my tent, where I selected a looking-glass, an ivory comb, and a pair of scissors for her...Next morning this young lady consented to sit for her portrait, which is here shown.' (Egerton p. 58). Full-length portrait of the three men, standing with an armed guard beneath palm trees. The armed guard is identified as a slave of Sirdar Husain Khan's in print 185. Archaeological Reconnaissances, fig. 52: 'Sirdar Husain Khan, chief of Geh, in middle, with relatives and slave retainer (on right).' Full-length portrait of the three men standing in front of a house. Full-length portrait of the Tibetan general, with four monks. Full-length portrait of the two men, seated in courtyard with attendants. Reproduced in Francis Younghusband, India and Tibet (1910), p. 242, captioned 'Ta Lama and his Secretary.' Full-length portrait of the two men, seated in the agency garden, with servants standing behind. Full-length portrait of the two men, Shukar Ali down on one knee, Younghusband standing behind him. A note on the reverse of the print in Eileen Younghusband's hand, dates the print to 1909 rather than 1908.[Silver printing-out paper, 152x205mm]. Full-length portrait of the two men, standing beneath a palm. Full-length portrait of the two men, standing in the garden of the Regent's pavilion: '...Amongst his attendants was a giant lama, some 7-feet high, and when Neame snapped him he began to talk and wave his arms. These were not threatening gestures as he was only asking for a copy of the photo.' (Lhasa Mission Diary, 28 August 1936).[Gelatin silver print, 92x141mm]. Full-length portrait of the two men, standing on a verandah.[Sepia toned print, 79x129mm]. Full-length portrait of the two men seated at a table, a camera on a tripod in the background. Second copy neg at B.5702. Full-length portrait of the two men standing in front of a grass hut at Mipi. Kennedy wears a pith helmet and holds a rifle. Full-length portrait of the two officers, Raynsford standing, Douie half-seated on an occasional table.[Albumen print]. Full-length portrait of the two seated men, with servant standing behind. The figure seated on the left is Lin Shar, and on the right Kyi Buk, the Rupen (major) wounded at Guru who is also see in print 200. Full-length portrait of the wife of the Rupen Kyi Buk, in traditional costume and head-dress. The photograph was taken in the Rupen's camp beneath Gyantse Dzong. Full-length portrait of the young Charajendra Wadiyar, standing beside a table.[Albumen print, oval vignette, 95x115mm]. Full-length portrait of the young Kishan Singh who stands on a chair. Full-length portrait of Thotab Namgue, seated cross-legged on a couch, looking off to the right with a carved wooden box in front of him. Thotab Namgue did not attend the Delhi Durbar and this photographer appears to have been taken a good deal earlier, possibly in the 1880s. Duplicate at Photo 99 (96). Full-length portrait of three Bengal Engineers, grouped round a table. They are identified as follows: F. W. Randall (no biographical information available), Henry Drummond (d.1883), Bengal Engineers 1843-78, and Sir Alexander Cunningham (1814-1893), Chief Engineer NWFP 1858-61. Full-length portrait of Tibetan dignitary, seated in courtyard. Full-length portrait of Tip Htila, standing on the verandah of a teak-built house, with four retainers or relatives squatting in front of her. Full-length portrait of two Addiscombe cadets. Later annotations read: 'Sullivan E. Becher, 1858-60' and 'Walter E. Forbes, 1857-8. 2nd in Photography. 1858. Qualified for Artillery'. Full-length portrait of two brothers. On the left sits Major Boyd Francis Alexander (1834-1917) of the 3rd Bn Rifle Brigade, on the right is, probably, William Maxwell Alexander, Assistant Magistrate at Mainpuri? Full-length portrait of two men, taken on the same occasion as print 73. Presumably photographed on the same occasion as print 82 (see note).[Albumen print, 112x179mm]. Full-length portrait of two Punjabis. Full-length portrait of uniformed jemadar saluting. Full-length portrait of William Henry Pierson (Bengal Engineers), in military uniform, standing in front of a wall at Addiscombe. Full-length portrait of Yassin Khan standing in front of a tent. 'When going out with the Montagu Mission in November 1917, I got the India Office to wire for his services and he duly met me in Bombay - to my great relief!'.[Gelatin silver print (copy print), 155x109mm]. Full-length portrait of Zampoin, in uniform, seated, his wife standing behind him. A carpet hanging on the wall behind serves as a backdrop. Zampoin, referred to as 'the kindly Russian Customs Officer' (ii, 845), had met up with Stein at Por-dobe on 26 July, and they travelled together down the Alai Valley to Daraut-kurghan. Full-length portrait of Zetland taken with his camera by J.A. Halliday. Full-length portraits. Full-length portraits. Full-length portraits. Full-length portraits. Full-length portraits. The print has been heavily retouched. Full-length portrait showing Huddleston seated at a table. Full-length portraits of: 'Chief Minister, Sir Faiyaz Ali Khan; HE Lord Chelmsford; Lady Chelmsford [and] HH the Maharajah'. Full-length portraits of the outgoing Irwins and the new Viceroy and Vicereine, standing at the foot of the staircase at the entrance to Government House. Full-length portraits seated at a table. Full-length portrait standing outside a bungalow. Full-length portrait standing portrait. Full-length portrait view of the crew, in uniforms, on the deck. [Albumen print, 308x371mm]. Full-length portrait view of the rescue team, in uniforms, on the Riva beach. The rescue team with lifesaving equipment (The same personnel is also photographed in prints 34,35 and 36).[Albumen print, 306x380mm]. Full-length portrait view of the staff, on deck of the ship, in uniforms. Two groups of marines are shown preparing the gun and the cannon for the drill. Two commanders stand at the back facing the photographer.[Albumen print, 308x380mm]. Full-length post mortem portrait, in ecclesiastical robes, with a crucifix clasped between his hands. Full-length seatd studio portrait of Ishwari Prasad Narayan Singh (1825-1889).[Albumen print, 96x135mm]. Full-length seated. Full-length seated cabinet portrait.[Albumen print, 103x145mm]. Full-length seated cabinet portrait.[Albumen print, 104x148mm]. Full length seated cabinet portrait. Full-length seated cabinet portrait of Donald ('Danny') McIvor Murray (1834-1882). He was born at Swainbost and was manager of the Soom Tea Estate, Darjeeling. He died at Madras.[Albumen print, 102x137mm]. Full-length seated cabinet portrait of Ethel Augusta Colvin, daughter of Sir Steuart Colvin Bayley and wife (m. 1888) of Sir Elliot Graham Colvin. Probably photographed in Calcutta, but possibly in Simla.[Albumen print, 101x142mm]. Full-length seated cabinet portrait of Frederick Marshman (Eric) Bailey as a child. probably photographed at Mussoorie.[Albumen print, oval image, 84x116mm]. Full-length seated cabinet portrait of John Clarke Marshman (1794-1877), journalist, editor and author. The son of the missionary Joshua Marshman, he set up the first paper-mill in India and issued the first monthly Bengali magazine, the 'Dig-Darsan', in 1818. With his father he started 'The Friend of India' in the same year. This portrait was taken in Instanbul.[Albumen print, 98x139mm]. Full-length seated cabinet portrait of Sir Elliot Graham Colvin (1861-1940), Indian Civil Service 1882-1918, Agent to to the Governor-General in Rajputana 1905-17. This portrait was taken while he was at Charterhouse.[Albumen print, 97x143mm]. Full-length seated carte-de-visite portrait, cousin of George Hogg. Full-length seated carte-de-visite portrait, dated on reverse. Probably photographed at Poona. Full length seated carte-de-visite portrait, in European dress, of King Chulalongkorn of Siam (1853-1910), ruled 1868-1910. Duplicate at Photo 127 (40). Full-length seated carte-de-visite portrait, in naval uniform. Full-length seated carte-de-visite portrait, in uniform. Full-length seated carte de visite portrait, leaning against a table. Another copy of this print at Eur Mss Eur G.91 (56b). Full-length seated carte de visite portrait, made in Edinburgh. Full-length seated carte-de-visite portrait, photographed in Bath. A friend or relation of the Younghusband family.[Albumen print, 59x94mm]. Full-length seated carte-de-visite portrait, posed in the act of reading a book. Full-length seated carte-de-visite portrait, probably photographed in India. Full-length seated carte-de-visite portrait, probably taken in Scotland. A note on the reverse states that Jane McR. (ie Jane Borthwick Murray, see prints 3-4) was named after her.[Albumen print, 65x91mm]. Full-length seated carte-de-visite portrait, reading a book. No biographical details traced.[Albumen print, 55x86mm]. Full length seated carte de visite portrait, sitter reading a book. Inscribed on front: 'Bertie' and on reverse: 'George'. Full-length seated carte-de-visite portrait, taken against the same backdrop is print 190d. Full-length seated carte de visite portrait, taken during King Chulalongkorn's visit to Bombay in 1872. Duplicate at Photo 9 (6). For a larger portrait, taken on the same occasion, see Mss Eur G.38/2 (XLVIIb). Full-length seated carte-de-visite portrait, with dog. Full-length seated carte-de-visite portrait, with light hand-colouring on face. Full-length seated carte-de-visite portrait; two copies, one in poor condition.[Albumen print, oval image, 56x78mm]. Full-length seated carte-de-visite portrait.[Albumen print, 56x84mm]. Full-length seated carte-de-visite portrait.[Albumen print, 60x91mm]. Full-length seated carte-de-visite portrait.[Albumen print]. Full-length seated carte-de-visite portrait. For another copy of this print, see Mss Eur G38/1 (43f). Full-length seated carte-de-visite portrait. Jaswant Singh (1851-1893), succeeded as a minor in 1853 and ruled 1871-93. For an almost identical portrait, clearly taken at the same sitting, see Photo 127 (13).[Albumen print, 57x92mm]. Full-length seated carte-de-visite portrait. No biographical information. Full-length seated carte-de-visite portrait. Full-length seated carte-de-visite portrait. Two copies.[Albumen print, 59x95mm]. Full-length seated carte-de-visite portrait. Two copies.[Albumen print, 60x96mm]. Full-length seated carte-de-visite portrait of Admiral Sir Charles Napier (1786-1860).[Albumen print, 60x90mm]. Full-length seated carte de visite portrait of Amelia Isitt with her son Robert Lemuel seated on her lap. Modern copy. Full-length seated carte-de-visite portrait of a young girl.[Albumen print]. Full-length seated carte-de-visite portrait of Charles Hogg's young daughter. Full-length seated carte-de-visite portrait of Clara Jane Younghusband, seated with her son George on her knee.[Albumen print, 60x90mm]. Full-length seated carte-de-visite portrait of Clara Jane Younghusband, wearing the same dress as seen in print 10c, and evidently taken on the same occasion.[Albumen print, 58x95mm]. Full-length seated carte-de-visite portrait of Clara Mary Aloysia Bowring (b. 1883), daughter of Lewin and Katharine Bowring.[Albumen print, 59x90mm]. Full-length seated carte-de-visite portrait of Colonel Frederick Bailey, father of Frederick Marshman Bailey.[Albumen print, 56x93mm]. Full-length seated carte-de-visite portrait of Francis Stephen Bowring (b. 1878), son of Lewin and Katharine Bowring. [Albumen print, 57x90mm]. Full-length seated carte-de-visite portrait of Frederick Bailey (1840-1912), Royal Engineers 1859-92. Inscribed 'F. Bailey' on reverse.[Albumen print, 55x90mm]. Full-length seated carte-de-visite portrait of George Hogg's aunt. Full-length seated carte-de-visite portrait of Jayaji Rao Sindhia (1835-1886), Maharaja of Gwalior, succeeded (as minor) 1843.[Albumen print, 58x90mm]. Full-length seated carte-de-visite portrait of John Clarke Marshman (1794-1877).{Albumen print, 58x92mm]. Full-length seated carte-de-visite portrait of John William Younghusband seated with his son Leslie Napier Younghusband on his knee.[Albumen print, 60x90mm]. Full-length seated carte-de-visite portrait of Major S.J. Blane, 52nd Regiment of Foot. [55x88mm]. Full-length seated carte-de-visite portrait of Martha Shaw (d. 1867), mother of Robert Barkley Shaw Clara Jane Younghusband.[Albumen print, 57x93mm]. Full-length seated carte-de-visite portrait of Robert Cornelis Napier (1810-1890), 1st Baron Napier of Magdala, Military Member of the Governor-General's Supreme Council 1861-65. [56x94mm]. Full-length seated carte-de-visite portrait of Robert Kindersley, reading at a table. '...One of the most talented and experienced officers in the Judicial branch of the Madras Service. He introduced several improvements of great value, and for the first time put the judicial procedure in Mysore on a satisfactory footing...A born lawyer, [who] had written some treatises on judicial matters, and possessed all the qualifications required in a man who was invested with powers of life and death, and who had to control an extensive judicial agency.' Full-length seated carte-de-visite portrait of Sher Ali Khan (1825-1879), Amir of Afghanistan 1863-66 and 1868-79. The photograph is uncredited, but is probably the portrait listed as '11. The Amir, sitting figure' in the Baker & Burke catalogue (see Photo 6 (8)). Probably photographed at Jamrud.[Albumen print, 58x90mm]. Full-length seated carte-de-visite portrait of Sir Henry Byng Harrington (1808-1871), Member of the Viceroy's Supreme Council 1859-65. [54x88mm]. Full-length seated carte-de-visite portrait of the wife of Willy Gillilan (print 77). Full-length seated carte-de-visite portrait of Tredway George Clarke (1835-1924), Madras Army. '...a clever and intelligent fellow, who promised to become a valuable official, and being a good scribe, was afterwards appointed secretary.' Full-length seated carte-de-visite portrait of Wilfred Joseph Bowring (b. 1879), son of Lewin and Katharine Bowring. [Albumen print, 58x89mm]. Full-length seated carte de visite size portrait. Dated and numbered in the negative. Full length seated formal studio portrait. Full-length seated oval portrait. Full-length seated portrait, a dog sits on her lap. Full-length seated portrait, against a carved woood screen. Full-length seated portrait, faded. Full-length seated portrait, in civilian clothes, of Lieut-Col John William Frederick Bean (b.1827), Bengal Native Infantry.[Albumen print]. Full-length seated portrait, in civilian dress.[Albumen print]. Full-length seated portrait, in front of wall. Full-length seated portrait, in military uniform.[Albumen print]. Full-length seated portrait, in military uniform.[Albumen print]. Full-length seated portrait, in military uniform. Oval vignetted image.[Albumen print, with photographer's blindstamp in bottom right-hand corner, 150x185mm]. Full-length seated portrait, in uniform, of Lieut Charles Arthur Madan Warde, Bengal Artillery. This is a better portrait than print 3. Full-length seated portrait, in uniform, of William Andres Warren, Madras Artillery. Duplicate at Photo 799 (10). Full-length seated portrait, in uniform. No further biographical details. Full-length seated portrait, in uniform. Full-length seated portrait, in uniform of William Henry Albert Webster (b. 1884), Indian Police, later Port of London Authority Police. Seen here in uniform in print cropped from a larger group.[Gelatin silver print (modern copy), 67x125mm]. Full-length seated portrait, photographed at Gandamak in May 1879. Full-length seated portrait, possibly of Louisa Compton in mourning (in which case the date would be 1862 or later). Very light hand-colouring to cheeks. Full-length seated portrait, probably taken at Lhasa. Full-length seated portrait, probably taken at Lucknow. Full-length seated portrait, reading a book. This is Lewin Bowring's uncle Charles Bowring (1806-1858), and the photograph was presumably taken at Exeter, where the young Lewin was sent to live with his grandfather. Their second son Charles worked in the family business (wool merchants). [Salt print, somewhat faded, 71x100mm]. Full-length seated portrait, signed 'Suraiyajah'. Born in 1853, recognised as the representative of the ex-Royal Family of Delhi in 1890. His father, Mirza Ilahi Bakhsh, was influential in the palace through his friendship with Zinat Mahal, Bahadur Shah's favourite wife. Full-length seated portrait, signed by sitter at bottom right. Full-length seated portrait, taken at Lucknow. Full-length seated portrait, taken on his return to Lhasa from Samye.[Gelatin silver print, 110x152mm]. Full-length seated portrait, taken on the same occasion as Photo 139/1 (1), probably at Lucknow. Photo 458 (1) was also taken at the same time Full-length seated portrait, taken on the same occasion as print 367. Full-length seated portrait, taken when Scott visited Chinese territory at Monglem in the course of the Second Wild Wa Expedition. Full-length seated portrait, very faded. A golden halo has been added to the print, which is laid down on a card mount with elaborate border decorations and an inscription in Urdu. Full length seated portrait, very yellowed, laid down on a card mount with elaborate border decorations and an inscription in Urdu. Full-length seated portrait, with hookah. Full length seated portrait, with signature. Full-length seated portrait, with sword resting in lap.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002.Mounted and stored separately in Box 664, shelf 85E. Full-length seated portrait: 'Today we had a large lunch party of officials who had not been invited before. There was Ringang's elder brother, a genial man who was once Depon in Kham.' (Lhasa Mission Diary, 25 January 1937).[Gelatin silver print, 105x154mm]. Full-length seated portrait. 'This morning Gould, Richardson and the Sonam went to interview the Cabinet at the building in the city called Kashag, from which the Tibetan name of the governing body is derived...Chapman, who has lately had many requests of this sort, went round early to take photographs of the Prime Minister and of his wife and small daughter.' (Lhasa Mission Diary, 29 January 1937).[Gelatin silver print, 156x103mm]. Full-length seated portrait.[Albumen print, 169x204mm]. Full-length seated portrait.[Albumen print]. Full-length seated portrait.[Gelatin silver print, 92x141mm]. Full-length seated portrait. Copy of the original print. Full-length seated portrait. Edward Ord Tandy (1835-1916), served in the Indian Medical Service (Bengal) 1859-94.Albumen print, 169x205mm]. Full-length seated portrait. Faded print. Probably taken at Kerch. Full-length seated portrait. Notes below the print suggest this may be 'Hon-Lieut Nawab Nizam ud Din, Khan of Mamdot'. Full-length seated portrait. Oval image. Full-length seated portrait. Photograph probably taken by Steen. Full-length seated portrait. Poor quality print. Full-length seated portrait. Print is tightly rolled. Full-length seated portrait. Rather faded.[Albumen print, 72x108mm]. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. Full-length seated portrait. The background has been retouched for publication (a copy of the published version is also included in the collection).[Albumen print, 174x220mm]. Full-length seated portrait. The Maharajah is flanked by two tigers which have been superimposed on the print. A copy of a painting of the same scene is at Photo 851/5 (38). Full-length seated portrait. The Maharaja sits cross-legged facing left holding a sword and shield. This print is a copy, probably by G.A.Kale, after the original by Johnston & Hoffmann. The photographers blind stamp can be seen in the bottom right hand corner. Duplicate of Photo 430/28 (1). Full-length seated portrait. The Maharaja sits cross-legged holding a sword and shield. Duplicate of Photo 430/28 (2). Full-length seated portrait. The Mir is holding a rifle. Full-length seated portrait. The Mir sits holding a rifle on a raised platform in front of which are eight dead antelopes. The caption reads: 'Mir Allahdad Khan, cousin's son of His Highness the Ruler of Khairpur State, just returned from a very successful Shikar'. Full-length seated portrait. The note beneath the print reads: 'In 1864 it was discovered that a very extensive conspiracy had been organized throughout the Bengal Presidency by the Wahabis, for the purpose of supplying the fanatics beyond our frontiers with men and money to carry on war against us. The Ambelya Campaign was then going on. Mahomed Shuffia was at that time contractor for the supply of meat to the European soldiers in every station from Peshawur to Delhi. Information reached John [Younghusband] that Mahomed Shuffia was the chief agent for sending money and recruits to the enemy. His vast contract and and numerous agencies enabling him to do so without suspicion. Tohn had him arrested. This caused immense excitement at the time owing to his wealth and influence, and a covert threat was made that the supplies to the European troops in all the stations would be stopped. Mahomed Shuffia was tried and sentenced to death. The sentence was however commuted to transportation. From the date of Mahomed Shuffia's arrest the conspiracy entirely broke down.'[Albumen print, 88x79mm]. Full-length seated portrait. This is a copy of a signed cabinet card portrait given to Augustus Le Messurier as recorded in his book From London to Bokhara and a ride through Persia (London 1889), pp. 268-9: 'From the palace I went with Mr Aganoor to visit Karim Khan, Amir Panj; he was delighted to see me. Plenty of fruits and sweeties ready. He also gave me his picture and wrote his name thereon...'. Full-length seated portrait. Zetland is sitting outside a tent with his rifle on his lap and the heads of two ibexes at his feet. Full-length seated portrait (an informal snapshot) of Sir Ugyen Wungchuk. Full-length seated portrait (cut out from a larger group) of Kunwar Ranbir Singh of Patiala, brother of Maharaja Rajendra Singh. Full-length seated portrait (oval vignette), wearing heavy coat and black Astrakahn hat, sword in left hand. Probably taken during the return from the Ambala durbar with the Viceroy Lord Mayo, possibly at Jamrud. Duplicate at print 78. Photograph probably by Baker & Burke. Full-length seated portrait (oval vignette). Duplicate of print 38 (qv). Possibly taken at Fort Jamrud by Baker & Burke. Full-length seated portrait (oval vignette) of Sir Chamrajendra Wadiyar (1863-1894), Maharaja of Mysore 1868-94. See also print 15. Full-length seated portrait against a plain backdrop. Sir William Grey (1818-1878) was Secretary to the Bank of Bengal 1851-54 and a member of the Governor-General's Supreme Council 1862-67. He was later Governor of Jamaica 1874-77.[Albumen print, 184x230mm]. Full-length seated portrait in ceremonial dress. Full-length seated portrait in front of a thatched house. Full-length seated portrait in the garden of a Chinese house. Full-length seated portrait of Aaron Penley, probably taken under his direction. Penley (c.1806-1870) was Professor of Civil Drawing at Addiscombe from 1850-61. Full-length seated portrait of Abdur Rahman Khan (1844-1901), Amir of Afghanistan, 1880-1901. Second copy neg at B.13905. Full-length seated portrait of a child of about ten years of age. This portrait is also used in Watson and Kaye's 'The People of India' (vol. 8, 1875): see Photo 972/8 (408).[Albumen print, 79x114mm]. Full-length seated portrait of a Chinese official, in traditional dress, left half-profile. This appears to be a misidentification: this figure is certainly not the man identified as General Liu in other photographs in the album. Full-length seated portrait of an elderly Chinese lady in full costume, posed in front of a screen with Chinese characters. Full-length seated portrait of an elderly man. Full-length seated portrait of an Indian soldier dressed in ornate festival costume.[Albumen print, 98x150mm]. Full-length seated portrait of an Indian soldier in ornate festival costume.[Albumen print, 98x150mm]. Full-length seated portrait of an unidentified Chinese memeber of the Burma-China Boundary Commission, in Mandarin dress. Full-length seated portrait of an unidentified man. Full-length seated portrait of an unidentified member of the Yule family. Full-length seated portrait of a uniformed Rissalder of the Mekran Levies. Probably photographed at Suntsar Fort. Stereoscopic view. Full-length seated portrait of Badu La, in front of wall. Full-length seated portrait of Campbell and his Chief of Staff Sir William Mansfield posed in discussion of a document. Second copy neg at B.1248. Full-length seated portrait of Charles Herbert Sedley (d. 1866), Royal Engineers from 1846.[Albumen print, 114x148mm]. Full-length seated portrait of Charlotte Canning. She sits in profile with a large sketch pad on her lap, a fan in her right hand and with her left arm resting on a marble-topped table on which stand a paint-box, clock and other items. A large vase of flowers stands in the left background. Photograph uncredited, but probably by Josiah Rowe.[Albumen print, 226x285mm]. Full-length seated portrait of Dr Henry Briscoe, Royal Artillery.[Albumen print, 101x121mm]. Full-length seated portrait of Edward Lempriere Earle. Full-length seated portrait of Fairfax Charles Hassard, Royal Engineers 1840-82.[Albumen print, 121x156mm]. Full-length seated portrait of General Sir Wilbraham Oates Lennox (1830-1897), Royal Engineers from 1848, V.C. (Crimea).[Albumen print, 123x141mm]. Full-length seated portrait of George Edwin Lance, Bengal Civil Service. Full-length seated portrait of George Faulkner, manager of the canal workshops at Jobra (Cuttack), seated in front of an easel. A very faded print.[Albumen print, 128x108mm]. Full-length seated portrait of George Montagu Stopford (d. 1879) Royal Engineers from 1847.[Albumen print, 102x119mm]. Full-length seated portrait of Ghaus Muhammad Khan (1823-1865), Nawab of Jaora, succeeded as minor 1825, ruled 1842-65.[Albumen print, 90x132mm]. Full-length seated portrait of Helen Augusta Magniac, with her brothers and half-brothers standing in a line behind her.[Albumen print, 293x230mm]. Full-length seated portrait of Henry Sandham (d. 1868), entered Royal Engineers 1813, Director, Chatham.[Albumen print, 128x165mm]. Full-length seated portrait of Henry Yule, similar to print 26, but slightly more distant and with a servant standing at Yule's shoulder. Full-length seated portrait of Jayaji Rao Sindhia (1835-1885), Maharaja of Gwallior from 1843 (succeeded as minor).[Albumen print, oval image, 77x102mm]. Full-length seated portrait of Jayaji Rao Sindhia (1835-1886), succeeded as minor 1843.[Woodburytype, 121x193mm]. Full-length seated portrait of King Chulalongkorn (1853-1910) in half-profile. A copy of this print was exhibited in Bangkok in 1996: see Henry Ginsburg, 'Thai Art and Culture. Historic Manuscripts from Western Collections' (British Library, London, 2000, p. 49).[Albumen print, 216x280mm]. Full-length seated portrait of Krishnaraja Wadiyar (1796-1868), Raja of Mysore (succeeded as minor 1799, ruled 1811-31. This portrait is also used in Watson and Kaye's 'The People of India' (vol. 8, 1875): see Photo 972/8 (407).[Albumen print, 78x125mm]. Full-length seated portrait of Lord Minto, Viceroy of India 1905-10, seated with Sir Hira Singh (c.1843-1911), Raja of Nabha 1871-1911. Full-length seated portrait of Major-General Sir Harry David Jones (1792-1866), Royal Engineers from 1808, Governor of the Royal Military College, Sandhurst 1856-66.[Albumen print, 92x132mm]. Full-length seated portrait of man with two children.[Albumen print, 66x106mm]. Full-length seated portrait of Mary Curzon, with autograph pasted below reading 'Mary Curzon Mhow Nov. 1902.'[?Sepia toned platinum print, 135x174mm]. Full-length seated portrait of Mir Muhammad Azam Jan, Khan of Kalat, signed and dated April 26th 1932.[Gelatin silver print, 167x216mm]. Full-length seated portrait of Myook Kun Hnya, ex-Myosa of Thigyit and widower of the Sawbwa of Yaunghwe's sister Sow E. An attendant holds an umbrella over him.[Albumen print, 117x183mm]. Full-length seated portrait of Nang Num, wife of the Sawbwa of Mawk Mai. Taken on the same occasion as print 62.[Albumen print, 72x97mm]. Full-length seated portrait of Princess Chaluva Jammanniavaru of Mysore, with two young women (her daughters?) standing on either side of her. Inserted in aperture mount in card inscribed 'Greetings and all good wishes for Xmas and the new Year. From Princess Chaluvajammanni & family, 1927'.[60x105mm]. Full-length seated portrait of Raghubir Singh holding a sword and shield. Full-length seated portrait of Ranbir Singh. Full-length seated portrait of Ranbir Singh (c. 1829-1885), Maharaja of Kashmir 1857-85.[Woodburytype, 120x191mm]. Full-length seated portrait of Robert Hawthorn, Royal Engineers 1850-90.[Albumen print, 115x158mm]. Full-length seated portrait of Samuel Swinton Jacob. Full-length seated portrait of Sayaji Rao (1863-1939), succeeded as minor 1875, ruled as Gaekwar of Baroda 1881-1939. A calendar placed on the cupboard behind the youth reads 'Saturday 13 November': this combination occured in 1875.[Albumen print, 96x136mm]. Full-length seated portrait of Sir Cecil Beadon (1816-1880), Member of the Governor-General's Supreme Council 1860-62. [56x87mm]. Full-length seated portrait of Sir Francis Bond Head (1793-1875), Royal Engineers from 1811, Lieutenant-Governor of Canada 1835-38.[Albumen print, 118x152mm]. Full-length seated portrait of Sir Kesri Singh (b.1857), Maharao of Sirohi 1875-1920 (abdicated). Behind him stand four attendants, two chauri-badars (fly-whisk bearers) and two chobdars (mace or staff bearers). Full-length seated portrait of Sir Khurshed Jah of Hyderabad (c.1841-1902), Member of the Hyderabad Council of Regency, 1882-4. Full-length seated portrait of Sir Lothian Nicholson (1827-1893), Royal Engineers from 1846, Governor of Gibraltar 1891-93.[Albumen print, 116x147mm]. Full-length seated portrait of Sir Shahaji Chhatrapati as a child. Full-length seated portrait of Sow Kun Kyi (b. c. 1849), Sawbwa of Mong Nai from 1873. This identification is taken from Scott's notes on rulers of the Shan States (see Mss Eur F278/66), although the sitter in this photograph looks younger than 40. Scott describes his character thus: 'Influence great; loyalty undoubted; leaves affairs too much in the hands of the Nwkan Maingtin, who is an inveterate schemer, but who at the same time, having visited Calcutta and having a house in Moulmein, is too well informed to intrigue against British authority. The Sawbwa occasionally takes fits of energy and manages State affairs, but usually devotes himself to agriculture and gardening, of which he is very fond. He walks a great deal (a most singular trait) and affects severe simplicity in his dress and train (also sufficiently uncommon among the Chiefs to be worth notice). He is very pious and extremely popular with his subjects...'[Gelatin silver print, 72x97mm]. Full-length seated portrait of Sow Kun Mon, Sawbwa of Mawkmai, with attendants seated behind holding umbrellas. See also prints 62 and 69.[Albumen print, 117x167mm]. Full-length seated portrait of Sow Kun Mon, Sawbwa of Mawk Mai. For another portrait taken on the same occasion, with biographical note, see print 62.[Albumen print, 75x97mm]. Full-length seated portrait of Sow Kun Mon (b. c. 1861), Sawbwa of Mauk Mai from 1887, with his half-sister and wife Nang Num, posed in front of a decorative hanging. In his report on the Shan Chiefs (Mss Eur F278/66), Scott describes him thus: 'Weak; very uxorious; badly educated; speaks Burmese with difficulty. Loyalty nevertheless undoubted, and a certain amount of firmness being acquired through misfortune and stress of circumstances. Kun Mon was not suffered to have any chance of succeeding to the Sawbwaship and was therefore not trained in State affairs. When he shakes of the trammels of his wives' relations he may do well. This will come about when the ladies lose their good looks.' See also print 69.[Albumen print, 72x98mm]. Full-length seated portrait of Sow Sein Bu (b. c. 1857), Myosa of Saga from 1885. Scott assessed his character as follows: 'Undoubtedly loyal. Shrewd, sensible, and anxious to be of service, either actively or by giving advice' (OIOC Mss Eur F278/66 p. 11).[Albumen print, 76x98mm]. Full-length seated portrait of Sujan Singh (1858-1884), Maharana of Udaipur 1874-84.[Woodburytype, 121x192mm]. Full-length seated portrait of Surgeon Francis Douglas. Full-length seated portrait of the couple, with an attendant holding an umbrella over them.[Gelatin silver print, 119x163mm]. Full-length seated portrait of the couple. Full-length seated portrait of the Dalai Lama, with four attendants standing behind him. Photographed while returning to Tibet after his exile in Darjeeling. Full-length seated portrait of the family group. See Mss Eur F157/464 (154) for a snapshot portrait group, where Rai Sahib Shahdung is described as 'Tibetan clerk'. Full-length seated portrait of the Maharani of Sikkim, wife of Thotab Namgue and stepmother of Sidkyong Tulku. Photograph possibly taken by John Claude White and marketed by Johnston & Hoffmann. Full-length seated portrait of the man also seen in prints 252 and 254. Full-length seated portrait of the Popon, in front of wall. Full-length seated portrait of the Right Reverend Henry Whitehead, presumably in the Lloyd Jones house (see print 1). Three stereoscopic prints and one stereo half.[Silver printing-out paper]. Full-length seated portrait of the son of Amir Sher Ali Khan, possibly taken at the Ambala Durbar by Clarence Comyn Taylor (see note at print 79). The table in the photograph is the same as that seen in print 50. Full-length seated portrait of the three delegates, McMahon in the centre, the Chinese representative Chen I-fan (Ivan Chen) on the left and the Tibetan Chief Minister Shatra Paljor Dorje (L�nchen Shatra) on the right. The photograph is signed by each of the three sitters in their respective scripts.[Gelatin silver print, 285x209mm]. Full-length seated portrait of the three figures, posed on verandah Full-length seated portrait of the two men, also reproduced in Tibet Past and Present, p. 226: 'Russia's chief connexion with Tibet has been through her Buriat subjects. These are Mongolians whose territories have been annexed to the Trans-Baikal and irkutsk Governments in Siberia. Together with other Mongolians, many Buriats live in Lhasa for years together, studying in the large monasteries, for the Dalai Lama is their spritiual head, as he is of all Mongols...A Buriat priest came to Lhasa when I was there, from the vicinity of Chita, having been a year on the journey...'m (pp. 222-223). Full-length seated portrait of the two women.[Albumen print, 144x131mm]. Full-length seated portrait of the young Maharaja. [Albumen print, 76x126mm]. Full-length seated portrait of three headmen, identified as: Soobia, Assistant Superintendent; Appachoo, Head Serishr; Appayya, Naib Serishr.[Albumen print, 184x142mm]. Full-length seated portrait of three monks. Full-length seated portrait of Tukoji Rao Holkar of Indore (1833-1886), succeeded as minor 1844, ruled 1848-86.[Woodburytype, 122x191mm]. Full-length seated portrait of two Nepalese ladies with attendants. Both women wear the characteristic full-skirted dress.[Albumen print, 96x136mm]. Full-length seated portrait of two officers, one of them a General. Full-length seated portrait of U Byaung. No biographical details available. Duplicate at Photo 92/8 (61).[Albumen print, 116x183mm]. Full-length seated portrait of unidentified sitter. Full-length seated portraits. Full-length seated portraits. Full-length seated portraits. The man on the right may be Reginald Isidore Robert Glancy an Assistant Commissioner in the Punjab at the time. Full-length seated portraits of Sir Rajendra Singh and state officials. Full-length seated portraits of Sir Sivaji Rao Holkar (succeeded 1886), Sir Tukoji Rao Holkar (died 1886) and Ranjit Singh of Ratlam. Full-length seated potrait. Full-length seated studio portrait, carte-de-visite size. Duplicate at Photo 430/74 (9). Full-length seated studio portrait, dated in negative. Full-length seated studio portrait, in uniform, of the ADC to the King of Siam. Standing behind General Surawongse are E. Craushay-Williams, RFA and M. Damrong ADC. Probably photographed in India. Full-length seated studio portrait, photographed in Calcutta. Pencilled note on cover of mount reads, '1914. H.H. the Maharaja of Sikkim who has placed his resources at disposal of Govt.' Full-length seated studio portrait, set against painted backdrop. Full-length seated studio portrait, signed by photographer at bottom right. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, The history of the Imperial Assemblage at Delhi (London [1877]). Second copy neg at B.8900. Full-length seated studio portrait, with a sword resting on his lap.Exhibited in 'India Through the Lens', Sackler Gallery, Washington, December 2000 - March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002.Mounted and stored separately in Box 664, shelf 85E. Full-length seated studio portrait, with sword held between knees. Full-length seated studio portrait.[Gelatin silver print, 145x197mm]. Full-length seated studio portrait. Some fading. Full-length seated studio portrait. Full-length seated studio portrait. Full-length seated studio portrait. Full-length seated studio portrait. Full-length seated studio portrait. This portrait show the Amir wearing the same coat seen in the durbar photographs by Taylor (see print 48) and was presumably therefore taken by him on that occasion. This in turn leads to the attribution of prints 50 and 51 to Taylor also, since the studio setup with table and backdrop is identical. Print 43 would also therefore be by Taylor: although the table is not present, the studio is the same. Full length seated studio portrait (on 'Imperial' size mount) showing Mary Curzon seated with her two daughters, the baby Cynthia on her lap, Irene seated on the floor beside her. Signed 'Mary Curzon Irene & Cynthia Simla 1899'. Full-length seated studio portrait of Bhupendra Singh, Maharaja of Patiala, with James Robert Dunlop Smith in civil service uniform beside him. Probably photographed on the same occasion print 17. Full-length seated studio portrait of Hari Singh (b.1895), Maharaja of Kashmir 1925-47, posed beside a table on which a tennis trophy sits. Probably photographed at Srinagar. Full-length seated studio portrait of Mian Ram Singh and Mian Kesri Singh. Full-length seated studio portrait of Mian Tej Singh and Mian Nihal Singh. Full-length seated studio portrait of Raghuraj Singh (1834-1880), Maharaja of Rewah 1854-80, wearing the robes of the Star of India.[Albumen print, 96x136mm]. Full-length seated studio portrait of Shams-ul-Umara (1814-1881), co-regent during the minority of Nizam Mahbub Ali Khan. He is seated beside a smal table on which stand a pistol and a small vase of flowers. The portrait is incorrectly captioned 'H. Ex. Vikarool Oomrao', who was the son of Shams-ul-Umara and born in 1856. Full-length seated studio portrait of Sir Asman Jah (1839-c.1896), Member of the Council of Regency, and Prime Minister of Hyderabad 1888-93. Full-length seated studio portrait of Sir Bhupendra Singh (1891-1938), Maharaja of Patiala (succeeded 1900, ruled 1910-38). The print is signed 'Bhupindra Singh 25.7.03'. Full-length seated studio portrait of Sir George Udney Yule (1813-1886), probably taken in Calcutta during his period as Member of the Supreme Council from 1867-68.[Albumen print, mounted on card with photographer's stamp on reverse, 170x210mm]. Full-length seated studio portrait of Sir Tukoji Rao Holkar (1833-1886), succeeded as minor 1844, ruled as Maharaja of Indore 1848-86. An attendant stands behind him holding a fly-whisk.[Albumen print, 96x137mm]. Full-length seated studio portrait of Sujan Singh (1858-1884), Maharana of Udaipur 1874-84, probably photographed at Calcutta.[Albumen print, 96x137mm]. Full-length seated studio portrait on card mount, showing Lady Dane posed in the act of reading a book. Print signed 'Edith Dane 1913'. Bremner had studios in Shimla and Lahore. Duplicates at prints 334-37. Full-length seated studio portrait on card mount. The inscription in Tibetan on the mount gives his full name and title: 'Panchen Erdeni blo-bzau thub-bstan chos-kyiui-ma', with an impression of his seal. Photographed at the Johnston & Hoffmann studio in Calcutta. Full-length side view of the horse and its trainer. The trainer in uniform.[Albumen print, 242x300mm]. Full-length snapshot portrait, standing in a courtyard. A rather faded print. Full-length snapshot portrait, standing in garden, of Lewin Bentham Bowring's second wife Katharine.[Silver printing-out paper, 78x103mm]. Full-length snapshot portrait of Aitken standing with his dog. Full-length snapshot portrait of Chand, standing on a verandah.[Gelatin silver print, 60x102mm]. Full-length snapshot portrait of General Baber Shum Shere standing beside his horse.[Gelatin silver print, 140x80mm]. Full length snapshot portrait of Sir Mage Frederic Gauntlett in Civil Service uniform, standing in a garden.Gauntlett was Auditor General of India at this time. Full-length snapshot portrait of Sir Valentine Chirol (1852-1929), journalist and author, standing in a clearing. The paper support is inscribed ''In the Jungle'. With all good wishes for 1917 from Valentine Chirol.' Enclosed in a letter from Chirol to Butler dated Matheran, 16 January 1917.[Gelatin silver print, 39x61mm]. Full-length standing cabinet portrait, by W. Hall of Brighton, of Alice Marshman, wife of John Clark Marshman.[Albumen print, hand-coloured, 99x140mm]. Full-length standing cabinet portrait, in uniform.[Albumen print, 94x131mm]. Full-length standing cabinet portrait, taken on the same occasion as print 23, but posed differently.[Albumen print, 101x148mm]. Full-length standing cabinet portrait.[Albumen print, 101x148mm]. Full length standing cabinet portrait of an unidentified man. A modern note suggests that this might be James Ralph Barnes, father of Hugh Shakespear Barnes, but this is so far unsubstantiated. Full-length standing cabinet portrait of an unidentified military officer, posed in the act of reading a letter.[Albumen print, 104x141mm]. Full-length standing cabinet portrait of an unidentified woman.[Albumen print, 102x143mm]. Full-length standing cabinet portrait of Helen Isabella McIver Murray (1847-1911), wife of Donald Murray (see print 6).[Albumen print, 101x136mm]. Full-length standing cabinet size studio portrait of Chamrajendra Wadiyar (1863-1894), posed against a table on which stands a row of books. Sir Chamrajendra Wadiyar was Maharaja of Mysore 1868-94. Full-length standing carte-de-visite (untrimmed) size portrait of Bowring's son Charles (b. 1862), by his first wife Mary Laura.[Albumen print, 59x85mm]. Full-length standing carte-de-visite portrait, face hand-coloured. The subject was the sister of Charles Hogg. Full-length standing carte-de-visite portrait, hand-coloured. Full-length standing carte-de-visite portrait, in military uniform, of Sir Andrew Scott Waugh (1810-1878), Surveyor-General of India 1843.[Albumen print, 55x85mm]. Full-length standing carte-de-visite portrait, in riding habit. Presumably the daughter of General Podmore (print 67). Full-length standing carte-de-visite portrait, in riding habit. Full-length standing carte-de-visite portrait, inscribed on reverse 'Mrs Younghusband: 19 May 1863.'[Albumen print, 60x90mm]. Full-length standing carte-de-visite portrait, inscribed on reverse 'Peshawar, December 1866'. Full-length standing carte-de-visite portrait, in uniform, inscribed on reverse 'Peshawar, December 1866'. Full-length standing carte-de-visite portrait, in uniform. Full-length standing carte-de-visite portrait, in uniform. Full-length standing carte-de-visite portrait, in uniform. Full-length standing carte-de-visite portrait, in uniform. Full-length standing carte-de-visite portrait, in uniform. Full-length standing carte-de-visite portrait, in uniform. The 3rd Bombay Light Cavalry later evolved into the The Poona Horse (17th Queen Victoria's Own Cavalry). Full-length standing carte-de-visite portrait, in uniform of Walter Hailes, Bengal Army. Full-length standing carte de visite portrait, in Viceregal robes. Full-length standing carte-de-visite portrait, photographed in Bath.[Albumen print, 56x92mm]. Full-length standing carte-de-visite portrait, posed against a rustic studio backdrop. Inscribed on reverse: 'For George C. Hogg, with Blanche Gertrude Mackenzie's best love.' Full-length standing carte-de-visite portrait, posed beside a large vase. Full-length standing carte-de-visite portrait, posed standing in boat. Two copies.[Albumen print, 61x97mm]. Full-length standing carte-de-visite portrait, probably photographed in India. Full-length standing carte-de-visite portrait, probably photographed in India. The sitter has not been positively identified; he may possibly be Lieut Boyce Albert Combe, 21st Hussars. Full-length standing carte de visite portrait, taken at Allahabad. Modern copy. Full-length standing carte-de-visite portrait, Two copies.[Albumen print, 58x94mm]. Full-length standing carte-de-visite portrait, wearing robe and insignia of the Star of India. Mahendra Singh (1852-1876) succeeded as a minor in 1862 and ruled 1870-76. For another copy of this print, see Photo 127 (11).[Albumen print, 58x92mm]. Full-length standing carte-de-visite portrait, wearing robes and order of the Star of India. Full-length standing carte-de-visite portrait, with uniformed Indian figures standing on each side of him. Full-length standing carte-de-visite portrait: 'There were further two native gentlemen, not Brahmans, whose independence of character and and honourable feelings secured to them the estimation both of Europeans and their own people. One of these, Aroonachellam Moodiliar, was called by Sir Mark Cubbon the only really honest man in the country, and though this was doubtless a hyperbolism, he was certainly thoroughly trustworthy, while possessing no mean ability.' Full-length standing carte-de-visite portrait. [55x90mm]. Full-length standing carte-de-visite portrait. [57x90mm]. Full-length standing carte-de-visite portrait.[Albumen print, 57x90mm]. Full-length standing carte-de-visite portrait.[Albumen print, 57x95mm]. Full-length standing carte-de-visite portrait.[Albumen print, 58x92mm]. Full-length standing carte-de-visite portrait.[Albumen print, 58x95mm]. Full-length standing carte-de-visite portrait.[Albumen print, 59x92mm]. Full-length standing carte-de-visite portrait.[Albumen print, 60x98mm]. Full-length standing carte-de-visite portrait. Bella Hailes was probably a sister of Walter Hailes (see print 59). Full-length standing carte-de-visite portrait. For another copy of this print, see Mss Eur G38/1 (55h). Full-length standing carte-de-visite portrait. Four copies.[Albumen print, 60x92mm]. Full-length standing carte-de-visite portrait. Full-length standing carte de visite portrait. Possibly photographed at Addiscombe College. Full-length standing carte-de-visite portrait. Presumably the daughter of Willy Gillilan (print 77) and Mrs Gillilan (print 80). Full-length standing carte-de-visite portrait. Probably a sister of Walter Hailes (see print 59). Full-length standing carte-de-visite portrait. Two copies.[Albumen print, 49x82mm]. Full-length standing carte-de-visite portrait. Two copies.[Albumen print, 60x96mm]. Full-length standing carte-de-visite portrait (?photographed in England). Full-length standing carte de visite portrait of (later Lieut Col) Frederick Bailey (1840-1912), Royal Engineers. Possibly photographed at Addiscombe College. Full-length standing carte-de-visite portrait of Annie Younghusband, 2nd wife (m. 1869) of Robert Romer Younghusband.[Albumen print, 60x90mm]. Full-length standing carte-de-visite portrait of a young child. Inscribed on reverse: 'Rudolph Edward [?]Irmer Hogg. Born 19th Jany. 1877'. Full-length standing carte de visite portrait of C.B. Harris, Bengal Engineers. Possibly photographed at Addiscombe College. Full-length standing carte-de-visite portrait of Captain B. H. Smith, Bengal Staff Corps, Lieutenant Henry McDonnell de Wendt Douglas, 36th Bengal Native Infantry and Lieutenant Henry Loftus Alexander Tottenham, 38th Bengal Native Infantry. Full-length standing carte de visite portrait of Captain Charles Douglas Newmarch, Bengal Engineers. Full-length standing carte-de-visite portrait of Captain Robert Baring. [57x94mm]. Full-length standing carte de visite portrait of Captain William Butler Gossett (Royal Engineers 1854-83). Possibly photographed at Addiscombe College. Full-length standing carte-de-visite portrait of Charles Burslem Saunders, Judicial Commissioner in 1862 and then Resident at Hyderabad 1868-75. Full-length standing carte-de-visite portrait of Charles Henry Luard, Royal (Bengal) Engineers 1855-99.[Albumen print, 55x90mm]. Full-length standing carte-de-visite portrait of Charles Hogg's young son. Full-length standing carte-de-visite portrait of Charles Johnson Nicholson (c. 1828-1862), inscribed on back, 'I'll bring you my brother's picture. Oct '61'. Photographed by Skeolan of Cheltenham.[Albumen print, 57x89mm]. Full-length standing carte-de-visite portrait of Charles Younghusband, as a child of about nine or ten years of age.[Albumen print, 60x90mm]. Full-length standing carte-de-visite portrait of Clara Emily (Emmie) Younghusband (1857-1945), daughter of John William and Clara Jane Younghusband.[Albumen print, 60x90mm]. Full-length standing carte-de-visite portrait of Clara Younghusband. Her face is entirely concealed by the burka she wears over her head.[Albumen print, 58x95mm]. Full-length standing carte-de-visite portrait of Colonel Frederick Bailey, father of Fredrick Marshman Bailey.[Albumen print, 55x91mm]. Full-length standing carte-de-visite portrait of Dr Anthony Beale (1817-1880), Personal Physician to Lord Canning. [50x81mm]. Full-length standing carte-de-visite portrait of Edward Bellasis, son of Serjeant Edward Bellasis. [Albumen print, 60x94mm]. Full-length standing carte de visite portrait of F.W. Randall (no biographical information). Full-length standing carte de visite portrait of Field Marshal Sir John Fox Burgoyne (1782-1871), Royal Engineers. Possibly photographed at Addiscombe College. Full-length standing carte-de-visite portrait of G. Mitchell, husband of Mary Thompson (see print 38) Full-length standing carte-de-visite portrait of General Sir Frederick Paul Haines (1819-1909), Commander-in-Chief in India 1876-81. [Albumen print, 56x88mm]. Full-length standing carte-de-visite portrait of George Crawford Hogg's father. Full-length standing carte-de-visite portrait of George Robertson, husband of Laura Shaw.[Albumen print, 60x90mm]. Full-length standing carte-de-visite portrait of Henrietta Hogg, wife of George Crawford Hogg. Full-length standing carte-de-visite portrait of Jane Borthwick Murray (1885-1885), n�e MacRitchie, wife of Colin Roderick Murray. She died of cholera only a few days after her husband.[Albumen print, 57x92mm]. Full-length standing carte de visite portrait of Lieut (?)Twemlow. Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut (later Sir) Edward Gilbert Clayton (1841-1917). Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut Allan Joseph Champneys Cunningham, Bengal Engineers 1860-91. Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut Charles Strahan. Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut Henry Cotteril Smith, Madras Engineers (d.1867). Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut Henry Hamilton, Bombay Engineers. Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut Robert Proctor Tickell. Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut William Percival Tomkins. Possibly photographed at Addiscombe College. Full-length standing carte de visite portrait of Lieut William Shepherd. Possibly photographed at Addiscombe College. Full-length standing carte-de-visite portrait of Major-General Sir George Bourchier (1821-1898), Bengal Artillery.[Albumen print, 55x91mm]. Full-length standing carte-de-visite portrait of Major H.M. Jones. [57x86mm]. Full-length standing carte-de-visite portrait of Mrs Devereux, wife of the Hon. H.B. Devereux; n�e Antrobus, a cousin of Lady Canning. [Albumen print, 55x88mm]. Full-length standing carte-de-visite portrait of Mrs Miller, wife of Henry Newdick Miller, Punjab Police.[Albumen print, 60x90mm]. Full-length standing carte-de-visite portrait of Mrs Thomson, wife of Colonel William Adam Anstruther Thomson, Commandant of the Viceroy's Bodyguard. [Albumen print, 55x86mm]. Full-length standing carte-de-visite portrait of Sir Bartle Frere (1815-1884), Member of the Gover-General's Supreme Council 1859-62. [56x83mm]. Full-length standing carte-de-visite portrait of Sir Donald Friell McLeod (1810-1872), Lieutenant-Governor of the Punjab 1865-70.[Albumen print, 60x90mm]. Full-length standing carte de visite portrait of the wife of Captain Charles Douglas Newmarch, Bengal Engineers. Full-length standing carte-de-visite portrait of the wife of Walter Hailes, Bengal Army. Full-length standing carte-de-visite portrait of Vijayaram Gajapatiraj (d. 1879), Maharaja of Vijayanagaram 1852-79. Probably photographed in Calcutta during the celebrations attending the investiture of the Duke of Edinburgh with the Star of India.[Albumen print, 52x92mm]. Full-length standing carte-de-visite portrait of Vincent Lewin Bowring (b. 1875), son of Lewin and Katharine Bowring.[Albumen print, 57x90mm]. Full-length standing carte-de-visite portrait of William Adam Anstruther Thomson (1822-1865), Commandant of the Viceroy's Bodyguard 1852-62. See also print 23.[Albumen print, 62x95mm]. Full-length standing carte-de-visite portrait of William John Engledue, Royal (Bengal) Engineers 1857-92.[Albumen print, 55x90mm]. Full-length standing figure holding a rifle. Full length standing group portrait, in uniform. Full-length standing group portrait of Military Academy staff, with students, all in uniforms, standing in front of the Academy building (print with spotting).[Albumen print, 307x384mm]. Full-length standing group portrait of Naval Academy students, in uniforms. All arranged in a triangular format on and in front of the stairs of a building.[Albumen print, 305x382mm] Full-length standing group portrait of Naval Academy students in uniform, preparing for a beach drill. The person standing in front of the group is probably the headmaster Tayyar Pasha.[Albumen print, 306x37mm]. Full-length standing group portrait of naval officers, in uniforms, some with swords, on deck of the ship.[Albumen print, 299x378mm]. Full-length standing group portrait of naval officers and staff, in uniforms, posing with their swords in front of a building (possibly the Imperial Naval Academy on Heybeliada, Istanbul, Turkey) ( Print with spotting).[Albumen print, 250x323mm]. Full-length standing group portrait of naval officers in uniform, some holding a sword, on the deck of the ship.[Albumen print, 308x383mm]. Full-length standing group portrait of officers, in uniforms, in the courtyard, in front of the Academy. Some wearing medals (Print with slight spotting).[Albumen print, 310x389mm]. Full-length standing group portrait of officers, in uniforms, standing in front of the Academy building (print with slight spotting).[Albumen print, 308x377mm]. Full-length standing group portrait of officers in naval uniform, some holding swords, on the deck of a ship.[Albumne print, 311x373mm]. Full-length standing group portrait of staff and students, in uniforms. Students with rifles and instructors standing in the front, in the Academy's courtyard. Side view of the Academy entrance (print with overall spotting).[Albumen print, 304x380mm]. Full-length standing group portrait of student, in uniforms, practicing fencing in the Academy's courtyard. Side view of the Academy entrance (similar to prints 24,25 and 26. Print with overall spotting).[Albumen print, 304x381mm]. Full-length standing group portrait of students, in uniforms, in front of the school building.[Albumen print, 309x380mm]. Full-length standing group portrait of students, in uniforms, in the school courtyard.[Albumen print, 304x373mm]. Full-length standing group portrait of students, in uniforms, in the schools courtyard.[Albumen print, 313x376mm]. Full-length standing group portrait of students, in uniforms, on stairs in front of the school entrance.[Albumen print, 306x380mm]. Full-length standing group portrait of students, in uniforms, performing fencing exercises, next to the Academy entrance (print with overall spotting).[Albumen print, 307x380]. Full-length standing group portrait of students, in uniforms, posing with swords, in front of the Academy building (print with overall spotting).[Albumen print, 306x385mm]. Full-length standing group portrait of students, in uniforms, standing in front of the Academy building (print with overall spotting).[Albumen print, 305x384mm]. Full-length standing group portrait of students, in uniforms, standing next to the academy entrance.[Albumen print, 308x383mm]. Full-length standing group portrait of students, in uniforms, with swords, standing in front of the Academy building (print with overall spotting).Albumen print, 306x380mm]. Full-length standing group portrait of students, in uniforms.[Albumen print, 306x376mm]. Full-length standing group portrait of students, in uniforms. Photographed in the same location as in prints 19 and 20.[Albumen print, 308x381mm]. Full-length standing group portrait of students, in uniforms. Students are photographed in the same setting as in print 19, standing on the stairs, in front of the school entrance.[Albumen print, 306x378mm]. Full-length standing group portrait of students and instructor, in uniforms, all posing with swords in front of the academy building (print with overall spotting).[Albumen print, 303x381mm]. Full-length standing group portrait of students and instructors, in uniforms, lined up in a row, one after another. Partial view of the Military band on the left corner (print with overall spotting).[Albumen print, 306x382mm]. Full-length standing group portrait of students and staff, in uniforms, infront of the building.[Albumen print, 310x381mm]. Full-length standing group portrait of students and staff, in uniforms, posing with swords. The instructors stand in the front row with the rest of the academy lined up one after another. The cavalry students are at the far end, on horseback (print with overall spotting).[Albumen print, 316x364mm]. Full-length standing group portrait of students and staff, in uniforms holding rifles. The teacher is located in front of an organized row of students, on a beach.[Albumen print, 302x382mm]. Full-length standing group portrait of students and their instructor, during a gymnastics class. Students engaging in different exercises.[Albumen print, 243x317mm]. Full-length standing group portrait of students of different age groups, in uniform.[Albumen print, 376x309mm]. Full-length standing group portrait of students of different ages, in uniforms. [Albumen print, 306x374mm]. Full-length standing group portrait of the boys of the Naval Polytechnic Department lined up in two rows, in front of a building, with their teacher standing on the left (Print with slight spotting).[Albumen print, 250x327mm]. Full-length standing group portrait of the crew, in uniforms, all posing identical to one another, in front of a wall.[Albumen print, 308x386mm]. Full-length standing group portrait of the crew and the instructor, in uniforms, on the Riva beach (The same group of crew and instructor in print 34).[Albumen print, 308x385mm]. Full-length standing group portrait of the crew of the ship, in uniforms. The crew stands lined up around what seems to be a smaller ship, on the deck of the ship.[Albumen print, 311x376mm]. Full-length standing group portrait of the faculty and the students of the school, in a courtyard. Students in uniforms and some of the faculty members wear a medal.[Albumen print, 249x320mm]. Full-length standing group portrait of the Imperial Naval Battallion and Band, in naval uniforms. View of a naval parade with some building in the foreground. The band is followed by the naval battalion.[Albumen print, 305x375mm]. Full-length standing group portrait of the Maines of the Imperial Navy, in uniform, before a group of buildings (possibly on the Heybeliada, Istanbul, Turkey). Print with slight spotting.[Albumen print, 250x321mm]. Full-length standing group portrait of the Marines of the Imperial Navy, in uniforms. The marines are photographed in separate groups, surrounded by buildings, on a harbour (print with slight spotting).[Albumen print, 252x322mm]. Full-length standing group portrait of the musicians of the Imperial Marine Batallion and staff, in naval uniforms. The band in the front is followed by the staff of the Marine Battalions. The photograph is a close view of what is possibly the Naval Academy on Heybeliada, Istanbul, on the harbour (similar to print 39). Print with slight spotting.[Albumen print, 250x321mm]. Full-length standing group portrait of the Naval Academy students, with their headmaster in uniforms.[Albumen print, 305x367mm]. Full-length standing group portrait of the Naval Battalion and Band, in uniforms (similar to print 1).[Albumen print, 303x375mm]. Full-length standing group portrait of the naval fire brigade, in uniforms. The firefighting equipment is in the foreground, on horse-drawn carriages. The naval fire brigade is positioned in front of a building and photographed from the side.[Albumen print, 257x 324mm]. Full-length standing group portrait of the officers and staff, in uniforms, infront of the school building.[Albumen print, 305x379mm]. Full-length standing group portrait of the students and faculty, in uniforms. In the centre foreground skeletons and a cadaver, implying an anotomy class.[Albumen print, 251x333mm]. Full-length standing group portrait of the students and faculty, in uniforms. The photograph taken in the courtyard of the school building. Some of the faculty members, in the front row, are wearing a medal.[Albumen print, 300x377mm]. Full-length standing group portrait of young female students in uniforms.[Albumen print, 307x379mm]. Full-length standing group portrait of young male students, in uniforms, standing in front of the school.[Albumen print, 290x355mm]. Full-length standing group portrait of young naval students and staff, in uniforms. View of the band with their musical instruments, standing in front of a building (print with slight spotting).[Albumen print, 252x322mm]. Full-length standing group portrait of young students, in uniform.[Albumen print, 306x376mm]. Full-length standing group view of the life rescue team with their instructor, all in uniforms. The rescue team is lined up on a beach, while one member of the rescue team is firing the breeches buoy lines. The rescue equipment is placed on the beach next to the rescue team. The instructor and the members of the rescue team are also photographed in prints 34 and 35.[Albumen print, 309x381mm]. Full-length standing in uniform. Full-length standing oval studio portrait, in uniform. Photograph on porcelain, broken and poorly repaired. Grenadier Guards. Military Secretary to the Earl of Northbrook, 1872-6. Full-length standing oval studio portrait, in uniform. Photograph on porcelain. 18th Foot (Royal Irish Regiment). Military Secretary to the Earl of Lytton, 1878-80. Full-length standing oval studio portrait, in uniform. Photograph on porcelain. 2nd Foot (Royal West Surrey Regiment). Military Secretary to the Earl of Lytton, 1876-8. Full-length standing oval studio portrait, in uniform. Photograph on porcelain. 92nd Foot (Gordon Highlanders). Military Secretary to the Marquess of Ripon, 1880-1. Full-length standing oval studio portrait. Photograph on porcelain. Grenadier Guards. Military Secretary to the Earl of Lytton, 1878. Full-length standing platinum print portrait of Lord Curzon, wearing viceregal robes. For an albumen print of this portrait, see OIOC Photo 430/78(3). Full-length standing portrait, an informal snapshot. Full-length standing portrait, composed of two prints, of two uniformed pupils.[Albumen print, 183x229mm]. Full-length standing portrait, his left arm resting on a chair.[Albumen print]. Full-length standing portrait, holding a sword. Full-length standing portrait, holding staff. Full-length standing portrait, holding sword. Full-length standing portrait, image somewhat yellowed and faded. Full-length standing portrait, in civilian clothes. Full-length standing portrait, in eastern costume. Full-length standing portrait, in European clothes, with two retainers standing at the right. Full-length standing portrait, informally posed in front of tent. Full-length standing portrait, in formal robes. Full-length standing portrait, in front of Bailey's house at Chumbi. A dark print. Full-length standing portrait, in military uniform.[Albumen print]. Full-length standing portrait, in military uniform. A faded print.[Albumen print]. Full-length standing portrait, in traditional dress and hairstyle. Full-length standing portrait, in traditional dress and head-dress. Full-length standing portrait, in uniform, half-profile. Full-length standing portrait, in uniform, informally posed. Full-length standing portrait, in uniform, in the open. Poor quality print.[Printing-out paper, 80x104mm]. Full-length standing portrait, in uniform, of General Henry Hamilton Maxwell (1824-1892).[Albumen print, 127x184mm]. Full-length standing portrait, in uniform, of James Law Lushington Morant (d.1886, at Melbourne), Madras Engineers. Duplicate at Photo 799 (19). Full-length standing portrait, in uniform, of Shakir Pasha. Print in poorish condition, with overall spotting.[Albumen print, 295x371mm]. Full-length standing portrait, in uniform.[Albumen print]. Full-length standing portrait, in uniform. Print in poorish condition, with overall spotting.[Albumen print, 310x383mm]. Full-length standing portrait, in uniform. Full-length standing portrait, in uniform. Full-length standing portrait, in uniform. Full-length standing portrait, in uniform. Full length standing portrait, in uniform. Full-length standing portrait, in uniform. Full-length standing portrait, on tin.[Tintype, 49x79mm]. Full-length standing portrait, posed against a plain backdrop with her right hand resting on the back of a chair. Mrs Bowring is here photographed in the same makeshift studio as the sitters in prints 148, 172 and 175: these portraits appear to be the work of Josiah Rowe (see note at print 175).[Albumen print, 178x235mm]. Full-length standing portrait, posed beside a wall. Achuk Tsering was Bell's clerk for many years, and accompanied him as personal assistant on his mission to Lhasa in 1920 (where he died in December of that year). Possibly photographed during the mission. Another copy of this print at print 85. See also print 110. Full-length standing portrait, presumably photographed at Lhasa. Full-length standing portrait, presumably taken at the Delhi Durbar. Full-length standing portrait, probably photographed near Gulmit. Full-length standing portrait, probably taken at Khatekhar Gulmai. Full-length standing portrait, retouched for publication.[Gelatin silver print, 209x286mm]. Full-length standing portrait, signed by the Maharaja. Full-length standing portrait, slightly unsharp. Full-length standing portrait, taken at Lucknow. Full-length standing portrait, taken on same occasion as print 168. Full-length standing portrait, taken on the same occasion as print 45, but in a different pose.[112x188mm]. Full-length standing portrait, wearing the order of the Star of India. Full-length standing portrait, wearing traditional dress and head-dress. Full-length standing portrait, with her child standing on a chair. Full-length standing portrait, with other figures standing behind. The man on the right is identified as Tunyik Chempo (Chief Secretary). Prints 367-372 are noted on the album page as having been taken at Lhasa. If the date is correct, this cannot be so (see note at print 364). Full-length standing portrait, with servants in background. Full-length standing portrait, with wife and child. Full-length standing portrait: 'Today there were three callers. The Yapshi Pho-pon, who is the Curator of the Norbhu Lingka spoke freely and intelligently. He gave a broad hint that he would like to see British mediation between the Tashi Lama and the Tibetan Government. He is the elder brother of Yutok Depon, one of the most able of the younger officials. At one time it was rumoured, apparently without foundation, that the Yapshi Pho-pon was the father of a possible re-incarnation of the Dalai Lama.' (Lhasa Mission Diary, 19 September 1936).[Gelatin silver print, 94x142mm]. Full-length standing portrait: 'Tse-Trung Cho-den Tendar the Telegraph Master, who is doing excellent work in despatching and receiving without error, many code telegrams, speaks English of a sort. In his spare time he runs a school and teaches such English as he knows to the sons of several officials.' (Lhasa Mission Diary, 19 September 1936).[Gelatin silver print, 94x142mm]. Full-length standing portrait. '...Curtained door on right, Tibetan carpet-rug underfoot, wall with usual three-colour stripes at back.' Full-length standing portrait. 'Chapman went unofficially to the Potala early this morning to photograph a gorgeously bejewelled costume that is worn by thirteen young officials on this day only. It is supposed to be the actual raiment worn by the former kings of Tibet. Over somewhat tattered silk robes each wore two necklaces, one of amber, each stone being bigger than a golf ball, and the other of coral. In the centre of the breast was a circular gold and turquoise ornament about six inches in diameter. From each side of the head were suspended more ornaments; one, a bar of gold about 18 inches in length studded with a row of ancient Tibetan turquoises was so heavy that it had to be supported in the hand. Two of the thirteen who were chosen by the Regent for special ceremonial duties, wore high crowned scarlet hats, while the others wore a smaller silken head dress.' (Lhasa Mission Diary, 13 February 1937). This photograph is reproduced in Hugh Richardson, 'Ceremonies of the Lhasa Year' (London, 1993), p. 16, where the costumes are also described in detail.[Gelatin silver print, 153x105mm]. Full-length standing portrait. 'July 12th. Timpa...In this village were met by our first Kongbo official, a fat monk from Chamna and a thin layman from Gyala, who presented us with scarves and chang...' (No Passport to Tibet, p. 115). However, this photograph, taken on the following day, was probably taken at Pe, after the party had crossed the Tsangpo by ferry (p. 116). Full-length standing portrait. 'Kusho Namdun La a favourite of the late Dalai Lama called on Mr Gould.' (Lhasa Mission Diary, 20 September 1936).[Gelatin silver print, 93x142mm]. Full-length standing portrait. 'Ringang and his wife came in to tea on their way home from their country estate where they have been spending a few days.' (Lhasa Mission Diary, 7 November 1936).[Gelatin silver print, 110x152mm]. Full-length standing portrait. 'Today is the real Tibetan New Year's day. As soon as we got home after our visit to the Potala Tsarong came to present a scarf of greeting and a small gift to each of us. He was wearing a special ceremonial dress of heavy silk brocade with a large pattern of dragons and flowers; we discovered later that it had cost him two thousand rupees.' (Lhasa Mission Diary, 12 February 1937).[Gelatin silver print, 103x157mm]. Full-length standing portrait. 'We all lunched with the Chikyab Khempo, a mild and courteous white-haired monk who is head of the Ecclesiastical party.' (Lhasa Mission Diary, 27 October 1936).[Gelatin silver print, 111x153mm]. Full-length standing portrait. (Ancient Persis Map, B3). Full-length standing portrait.[117x192mm]. Full-length standing portrait.[Albumen print, 124x185mm]. Full-length standing portrait.[Albumen print, 92x152mm]. Full-length standing portrait.[Gelatin silver print, 92x142mm]. Full-length standing portrait.[Sepia-toned print, 143x235mm]. Full-length standing portrait. An inscription on the verso reads: 'Herbert M. Sydenham Clarke, Burmah Police, August 1893. For Coz Tom & Mrs Underwood'. Full-length standing portrait. Chief of the Khasis of Assam. Full-length standing portrait. Dunlop Smith is in military uniform and adjacent to the print is the crest of the 4th Sikh Infantry, to which he was presumably attached. Full-length standing portrait. Duplicate at print 69. Full-length standing portrait. Lady Curzon is wearing her peacock dress. Full-length standing portrait. Much yellowed and fading. Full-length standing portrait. No Biographical information traced. A faded print.[Albumen print, 113x176mm]. Full-length standing portrait. Photograph taken by Neame after his departure from Lhasa in October 1936.[Gelatin silver print, 92x141mm]. Full-length standing portrait. Print in poorish condition, with overall spotting.[Albumen print, 302x371mm]. Full-length standing portrait. Probably photographed in the Suez Canal. Full-length standing portrait. Probably taken at Kerch. Full-length standing portrait. Reproduced in 'No Passport to Tibet', p. 33. Full-length standing portrait. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 395: 'Ghazan Khan would not hear of his going up to the passes, but appointed a man, by name Ali Gauhar, chief of Ghulkin, to accompany the officers instead. Ali Gauhur was a fine handsome blue-eyed and brown-bearded Gujali of about 40, who spoke Persian well. He was always in the highest of spirits, quoting proverbs and making jokes, and, when a difficulty arose with the people of the country, his whip generally solved it - used not brutally, but with a genial jocularity that deprived it of its sting. If a Balti had troube with his load up some precipitous path, or is a pony refused to be led along some rocky ledge, Ali Gauhur was sure to be on the spot to help, and, when not engaged on such work, he would relate stories about his country and his forefathers, or else, with head thrown back and feet thrust forward in his broad stirrups, would sing a discordant song.'[Albumen print, 150x202mm]. Full-length standing portrait. Ruddock taught at Addiscombe from 1826-c.41. Modern copy print from a 19th-century original. Full-length standing portrait. Small snapshot. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. Full-length standing portrait. The adjoining print (Print 60) shows T.G. Glover's son, Gussy, with his Ayah in the same studio, suggesting that the woman here may be Glover's wife. Full-length standing portrait. The background has been painted out and the Nawab's clothes and features heavily touched-up. Full-length standing portrait. The original caption wrongly reads: 'Sir Salem Jung'. Faded poor quality print. Larger reproduction at No 137 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Full-length standing portrait. The portrait is contained in a folder bearing the photographer's name and the dedication: 'To Sir Louis Dane, GCIE'. The print is signed across the bottom right corner: 'Rameshwam Singh, May 1923, Maharaja of Darbhangah'. Full-length standing portrait. The print is signed 'A loyal subject to the British Crown. Amiruddeen, Nawab of Loharu State, 1884'.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002.Mounted and stored separately in Box 664, shelf 85E. Full-length standing portrait. The sitter, Archibald Macdonald Garden, is leaning on a pedestal, his left hand holding a rifle. Full-length standing portrait. The subject is standing by a chair his left arm resting on a pillar. His signature is below the print. Full-length standing portrait. The woman is in fancy dress holding a fan above her head. An inscription on the verso reads: 'Eva McHutchin, ""Summer"", Fancy Ball, Madras, 13th November 1893. Full-length standing portrait (Mutiny veteran?). Full-length standing portrait (rear view) of Miss Macdonald, daughter of the trade agent David Macdonald. Full-length standing portrait from the same sitting as print No 134 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Full-length standing portrait in the mission camp at Khamba Dzong. Full-length standing portrait of (later Sir) Ernest Wilton, in civil service uniform. Younghusband (India and Tibet, London, 1910, p. 124) records that Wilton arrived at Khamba Dzong on 7 August 1903. Full-length standing portrait of (Sir) Jaya Chamaraja Wadiyar (1919-74), Maharaja of Mysore from 1940.[Gelatin silver print, 81x133mm]. Full-length standing portrait of (Sir) Krishnaraja Wadiyar (1884-1940) and his younger brother Kantirava Narasimharaja Wadiyar (1888-1940). Second copy neg at B.5973. Full-length standing portrait of a bearded man in Arab dress, posed among palm trees.[Sepia-toned print, 212x311mm]. Full-length standing portrait of a contractor, probably connected with canal construction in Sindh, dressed in a European suit and holding an umbrella. Full-length standing portrait of a dak runner. Modern print.[Gelatin silver print, 80x126mm]. Full-length standing portrait of a group of pupils.[Albumen print, 192x250mm]. Full-length standing portrait of a man in uniform. Full-length standing portrait of a naval buglar, in uniform, playing the trumpet.[Albumen print, 380x302mm]. Full-length standing portrait of a naval police officer, in uniform, photographed holding his sword, in front of a building (print with slight spotting).[Albumen print, 322x251mm]. Full-length standing portrait of a naval standard bearer, flanked by two guards.[Printing-out paper, 231x292mm]. Full-length standing portrait of a navy buglar with a trompet in his right hand, in naval uniform. He is photographed standing between two pillars of a building (Print with slight spottinig).[Albumen print, 324x251mm]. Full-length standing portrait of an unidentified Indian prince. Full-length standing portrait of an unidentified woman. Full-length standing portrait of a pupil, in traditional dress.[Albumen print, 196x253mm]. Full-length standing portrait of Archibald Patrick George Ross (d. 1868), Royal Engineers from 1833.[Albumen print, 104x163mm]. Full-length standing portrait of a sowar who holds a sword and rifle. Full-length standing portrait of Augustus Fortunatus Bellasis, Bombay Civil Service and cousin of Bowring's wife Katharine, in fancy dress. 'On the last day of the year Lord Mayo gave a fancy dress ball, viceregal orders being issued that everyone under a certain remote age must appear in fitting costume...My wife's cousin...looked the most ridiculous roysterer I ever saw, but called himself Lord Fauconberg. His false moustachios threatened to tumble into his mouth, but he waltzed about like a stunted Rochester so vigorously that his cloak go entangled in his sword, and his Lordship narrowly escaped an ignominious fate...' (p. 270). [Albumen print, 94x132mm]. Full-length standing portrait of a uniformed naval medical officer, posed in front of a painted seascape backdrop.[Printing-out paper, 238x300mm]. Full-length standing portrait of a watchman.[Gelatin silver print, 79x131mm]. Full-length standing portrait of a young man, in gyaluch� dress. The reference number in the album is given as A71. This cannot be traced in the Lhasa Mission Diary, and is probably a mistranscription for A17, which is described thus: 'Tering Raja has come up from Gyantse to visit his relations in Lhasa. Although the two places are only five or six days' journey apart, Jigme Dopon, the Raja's eldest son, has not seen his father for two years, so difficult is it for Lhasa officials to get any leave.' (Lhasa Mission Diary, 5 February 1937).[Gelatin silver print, 103x155mm]. Full-length standing portrait of Bailey, in Arab dress. Poor quality print, very dark. Full-length standing portrait of Bailey's servant. Full-length standing portrait of bearded European man, presumably William Croker.[180x230mm]. Full-length standing portrait of bugler. Print in poorish condition, with overall spotting.[Albumen print, 309x374mm]. Full-length standing portrait of bugler of the First Mobile Artillery Brigade.[Albumen print, 308x375mm]. Full-length standing portrait of Captain Charles Henry Dudley Ryder of the Survey of India. Full-length Standing portrait of Captain Hakki Bey, on the deck of the ship, in naval uniform and holding a sword.[Albumen print, 367x285mm]. Full-length standing portrait of Captain Mehmed Pasha on the deck of a ship, in naval uniform.[Albumen print, 372x307mm]. Full-length standing portrait of Charles Eckford Luard, who from June to November 1902 was an Assistant to the Agent of the Governor-General in the Rajputana Agency. Full-length standing portrait of Charles Joseph Weld as a boy, holding a rifle.[Silver printing-out paper, 94x120mm]. Full-length standing portrait of coastal night patrolmen, in uniforms and equipment, on a shore.[Albumen print, 377x304mm]. Full-length standing portrait of Colonel Bourchier, with two young children.[Albumen print]. Full-length standing portrait of Colonel Ma, the Amban's envoy. Full-length standing portrait of Colonel Rasim Bey, in naval uniform, on the deck of the ship. He is positioned next to a cannon with a sword in his hand.[Albumen print, 365x312mm]. Full-length standing portrait of Curzon striking a thoughtful pose. Full-length standing portrait of fireman with bugle raised to lips.[Albumen print, 307x374mm]. Full-length standing portrait of four Addisombe cadets, in uniform. They are identified on the back of the print as (from right): Charles D.A. Straker (1857-58), Henry Doveton (1857-58), Samuel Swinton Jacob (1857-58), John W. Taylor (1857-58).[Albumen print, 74x105mm]. Full-length standing portrait of Frederick Augustus Yorke, Royal Engineers 1831-66, in the open in front of a doorway.[Albumen print, 107x164mm]. Full-length standing portrait of General Ma in military uniform. The career and demise of General Ma, 'our local ogre', is described in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, pp. 261-269). For a view of his palace at Kashgar, see print 25.[Gelatin silver print, 216x297mm]. Full-length standing portrait of General Sir Jang Bahadur (1817-1877), Commander-in-Chief and Prime Minister of Nepal 1846-77.[Albumen print, 96x136mm]. Full-length standing portrait of Graves Lempriere Searight, in civil service uniform, probably in the garden of his house at Bankipur. Searight served in the Public Works Department from 1886-1916, and was Chief Engineer, PWD, Bihar.[Silver printing-out paper, 79x130mm]. Full-length standing portrait of Hamid Ali Khan, in uniform. The photograph is clearly a montage, with the subject superimposed so as to appear standing on the steps in front of the imposing arched entrance to an unidentified building. Print signed 'Hamid Ali Khan 1914.' Full-length standing portrait of Henry Reynolds Luard (d. 1870), Royal Engineers from 1847.[Albumen print, 96x134mm]. Full-length standing portrait of Henry Schaw (1829-1902), Royal Engineers 1847-87, with his sister beside him.[Albumen print, 108x147mm]. Full-length standing portrait of Herbert Taylor Macpherson. Full-length standing portrait of Hindmarsh, Locomotive Superintendent, Eastern Bengal State Railway, wearing a suit and standing among potted planted. For the arguement in favour of this identification, see introduction. Full-length standing portrait of Jaswant Singh (1837-1895), Maharaja of Jodhpur 1873-95.[Woodburytype, 122x192mm]. Full-length standing portrait of Jaswant Singh (1837-1895), Maharaja of Udaipur 1873-95. The accompanying biographical letterpress incorrectly identifies the sitter as the previous Maharaja Takht Singh, who died in 1873.[Albumen print, 96x137mm]. Full-length standing portrait of Jaya Chamaraja Wadiyar. Full-length standing portrait of John Claude White, in civil service uniform. Full-length standing portrait of Lieutenant Basil Rice Nicholl, holding rifle. Full-length standing portrait of Lieutenant Saville. No biographical details traced.[Albumen print, 103x151mm]. Full-length standing portrait of Lord Lytton, wearing Viceregal robes and the order of the Star of India, probably photographed at Government House, Calcutta.[Woodburytype, 121x193mm]. Full-length standing portrait of Ma-chi-fou and youth. Full-length standing portrait of Mahbub Ali Khan (1866-1911), succeeded as minor 1869, ruled as Nizam of Hyderabad 1884-1911. The youth leans against a table holding a sword.[Woodburytype, 120x187mm]. Full-length standing portrait of Mahendra Singh (1852-1876), succeeded as minor 1862, ruled as Maharaja of Patiala 1870-76. He wears the robe of the Star of India.[Albumen print, 92x136mm]. Full-length standing portrait of Major Bunny, his foot resting on a chair and holding a young child.[Albumen print]. Full-length standing portrait of man and boy. Full-length standing portrait of Mary Florence Hannay (n�e Campbell), 2nd wife of Colonel Simon Fraser Hannay, whom she married in 1844. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 138x205mm]. Full-length standing portrait of monk. Full-length standing portrait of Mrs Edwardes Lyall, (?)wife of John Edwardes Lyall (1811-1845).[Albumen print, 106x154mm]. Full-length standing portrait of Nawab Mahrat Khan, holding the heir apparent Mohammad Akbar al-Shahtaz Khan in his arms. Probably taken on the same occasion as print 35.[Gelatin silver print, mounted on card, 157x214mm]. Full-length standing portrait of Nawab Salar Jung III, Prime Minister of Hyderabad 1912-14, his hands resting on a sword. Photograph signed and dated on the print.[207x299mm]. Full-length standing portrait of Nilakanth with Stein's dog Dash. Full-length standing portrait of of two men, with armed attendant. Full-length standing portrait of Rabden Lepcha, posed against a wall. Full-length standing portrait of Ram Singh (d. 1880), Maharana of Jaipur 1835-80.[Woodburytype, 120x191mm]. Full-length standing portrait of Sawai Madho Singh. Full-length standing portrait of Sayaji Rao (1863-1939), succeeded as minor 1875, ruled as Gaekwar of Baroda 1881-1939.[Woodburytype, 121x193mm]. Full-length standing portrait of Shah Jahan Begum (1838-1901), Begum of Bhopal 1868-1901, wearing the robes and order of the Star of India.[Woodburytype, 122x193mm]. Full-length standing portrait of Shukar Ali, standing in the garden of the Residency at Srinagar. A somewhat faded print.[75x99mm]. Full-length standing portrait of Sir Chamrajendra Wadiyar (1863-1894), Maharaja of Mysore 1868-94.[Woodburytype, 120x192mm]. Full-length standing portrait of Sir Jang Bahadur (1816-1877), Prime Minister and Commander-in-Chief of Nepal 1846-77, wearing the robes of the Star of India.[Woodburytype, 121x191mm]. Full-length standing portrait of Sir Ugyen Wungchuk. Faded print. Full-length standing portrait of soldier with bugle raised to lips. Print in poorish condition, with overall spotting.[Albumen print, 305x378mm]. Full-length standing portrait of Stein's sister-in-law. Duplicate negative from a nitrate original now destroyed: no print. Full-length standing portrait of Stein and his dog Dash. Full-length standing portrait of Stein and the Iranian army officer. Full-length standing portrait of Surgeon John Bowmer Collison. Full-length standing portrait of Tashi Namgyal, Maharaja of Sikkim from 1914, probably in front of the British Residency at Gangtok. Full-length standing portrait of the couple, posed beside a plinth.[Albumen print]. Full-length standing portrait of the couple, with servants standing behind. The wife wears a head-dress of different design from that worn by the woman in prints 250-251 Full-length standing portrait of the couple. Full-length standing portrait of the crew and commanders, in uniforms, on the deck. The commander is photographed in naval armour and delagating a cannon drill, while a senior commander is watching the events on a higher platform of the ship.[Albumen print, 308x382mm]. Full-length standing portrait of the four men, in uniform. They are identified as Prem Singh, Sundar Singh, Sher Singh, Jhanda Singh. Full-length standing portrait of the four men.[Gelatin silver print, 158x106mm]. Full-length standing portrait of the four men. Full-length standing portrait of the jongpen also seen in print 197. Full-length standing portrait of the Major who is holding a gun. Full-length standing portrait of the old man and young boy. (Ancient Persis Map C2). Full-length standing portrait of the standard bearer of the Marines. The figure is photographed in front of a building, between two arches, in naval uniform and holding the standard of the Naval Battalion of fusiliers (print with slight spotting).[Albumen print, 324x250mm]. Full-length standing portrait of the state exceutioner of Rewah, a massive man wearing spiked armour and holding a sword and shield. Probably photographed at Delhi during the Delhi Durbar. Full-length standing portrait of the three figures, in front of the wall of a house: 'Onthe 25th we marched to Kuling, the Nono's residence, on the right bank of the Spiti, which we forded without difficulty, as it now contains considerably less water than it had in July. Here the Nono has a very nice compact little estate, with two good houses and plenty of out-buildings on it...When the sun had set behind the mountains, I asked the Nono to sit for his portrait, with his wife and unmarried daughter, and got the annexed picture. Anything more inane and helpless than the old gentleman's face on this occasion it is impossible to conceive...' (Egerton, p. 57). In fact, it transpired that this portrait shows the couple with their grand-daughter rather than their daughter (see print 35). Full-length standing portrait of the three figures, the daughter standing between her mother and father. Presumably photographed at Phari. Full-length standing portrait of the three figures. 'Lunch with Trimon Shap�. He was far more lively and communicative than previously, and he entertained us very well. Tsarong Shap� was also there; our hosts frequently invite him on account of his intimacy with British officers, and for his unfailing skill in making a party 'go'.' (Lhasa Mission Diary, 13 October 1936).[Gelatin silver print, 155x109mm]. Full-length standing portrait of the three figures. Full-length standing portrait of the three men, the father between his two sons. (Ancient Persis Map, B3). Full-length standing portrait of the three men. Photographed in the vicinity of Wadh: 'It was across this desolate plain that my visit ofApril 5th to the 'dambs' [mounds] of Wadh first took me. It was carried out under the guidance of Rissaldar Khan Muhammad Mengal, the capable commander of the local Levies and familiar with all localities of the tract' (Gedrosia, p. 175). Full-length standing portrait of the three men. Full-length standing portrait of the three officials, taken on the day of the Regent's departure for Samye. 'All other officials of Lhasa were waiting to receive him at the park. Today they wore a ceremonial dress reserved for auspicious occasions. Those of the highest rank wore yellow brocade robes embroidered with dragons of blue and gold; minor officials wore less resplendent brocade tunics and skirts of black silk; they had perched on their heads, curious little white hats like cockle shells.' (Lhasa Mission Diary, 6 October 1936).[Gelatin silver print, 153x104mm]. Full-length standing portrait of the trade agent and his assistant. Full-length standing portrait of the two figures, posed in the open air. Full-length standing portrait of the two German officers. Full-length standing portrait of the two men, in front of a tent. Full-length standing portrait of the two men.[Albumen print, 120x150mm]. Full-length standing portrait of the two men.[Gelatin silver print, 105x152mm]. Full-length standing portrait of the two men.[Printing-out paper, 237x300mm]. Full-length standing portrait of the two men. Full-length standing portrait of the two men. Full-length standing portrait of the two men. Full-length standing portrait of the two men. Full-length standing portrait of the two men. Full-length standing portrait of the two men with their ponies. Full-length standing portrait of the two monks. Full-length standing portrait of the two officers. Full-length standing portrait of the two Tibetan officers seen in print 154.[Gelatin silver print, 92x143mm]. Full-length standing portrait of the two traders. Full-length standing portrait of the uniformed chuprassi, posed in front of a tent.[Gelatin silver print, 80x133mm]. Full-length standing portrait of the wife of Changra (see print 345) and her three children.[Gelatin silver print, 154x104mm]. Full-length standing portrait of three engineers-builders of the admiralty, in naval uniforms.[Albumen print, 375x302mm]. Full-length standing portrait of three figures: on the left John William Gordon (1814-1870), Royal Engineers from 1833, Inspector-General of the Royal Engineers 1869-70; on the right Howard Crauford Elphinstone (1829-1890), Royal Engineers from 1847, V.C. (Crimea). The central figure is unidentified.[Albumen print, 119x146mm]. Full-length standing portrait of three men.[Gelatin silver print, 131x81mm]. Full-length standing portrait of three of Stein's assistants, posed in front of the mud wall of a house. Precise location unknown. Full-length standing portrait of three young pupils.[Albumen print, 199x255mm]. Full-length standing portrait of Tibetan guide. Full-length standing portrait of Tibetan officer, identified in print 223 as Kyi Buk, with the barrel of a gun visible behind him. Full-length standing portrait of Torquil John McLeod, probably taken at Dharmshala. Full-length standing portrait of two buglers, posed against a painted backdrop.[Printing-out paper, 259x320mm]. Full-length standing portrait of two buglers, posed at attention in front of a painted backdrop.[Printing-out paper, 260x318mm]. Full-length standing portrait of two drummers, posed against a painted backdrop.[Printing-out paper, 258x320mm]. Full-length standing portrait of two firemen, armed with pistols and posed against a painted backdrop.[Printing-out paper, 260x320mm]. Full-length standing portrait of two firemen, posed against a painted backdrop. See also print 9 and OIOC Photo 1058/7 (1-7).[Printing-out paper, 258x320mm]. Full-length standing portrait of two firemen, posed against a painted backdrop in the act of blowing their bugles.[Printing-out paper, 250x317mm]. Full-length standing portrait of two firemen, with water sacks strapped to their backs, posed against a painted backdrop. See also OIOC Photo 1058/7(1-7), for views of the Selamlik Ceremony.[Printing-out paper, 259x319mm]. Full-length standing portrait of two firemen.[Printing-out paper, 247x308mm]. Full-length standing portrait of two firemen holding axes, posed against a painted backdrop.[Printing-out paper, 259x320mm]. Full-length standing portrait of two firemen holding lanterns, posed against a painted backdrop.[Printing-out paper, 259x306mm]. Full-length standing portrait of two helmeted firemen, posed against a painted backdrop.[Printing-out paper, 260x318mm]. Full-length standing portrait of two helmeted firemen, posed against a painted backdrop.[Printing-out paper, 260x320mm]. Full-length standing portrait of two naval infantrymen.[Printing-out paper, 223x291mm]. Full-length standing portrait of two naval officers in their naval uniform, posing in front of a building holding their gloves and swords.[Albumen print, 374x287mm]. Full-length standing portrait of two of Stein's men. Full-length standing portrait of two pupils, in traditional dress.[Albumen print, 198x254mm]. Full-length standing portrait of two pupils, in traditional dress.[Albumen print, 199x254mm]. Full-length standing portrait of two pupils, in traditional dress.[Albumen print, 200x253mm]. Full-length standing portrait of two pupils.[Albumen print, 200x251mm]. Full-length standing portrait of two pupils. The text on the wall translates: 'Long live our Sultan'.[Albumen print, 198x251mm]. Full-length standing portrait of two pupils from the school seen in print 13.[Albumen print, 189x251mm]. Full-length standing portrait of two pupils from the school seen in print 21.[Albumen print, 189x251mm]. Full-length standing portrait of two pupils from the school seen in print 26.[Albumen print, 190x251mm]. Full-length standing portrait of two pupils from the school seen in print 28.[Printing-out paper, 164x226mm]. Full-length standing portrait of two students, standing in the street in front of a building.[Albumen print, 200x255mm]. Full-length standing portrait of two students. The framed script on the wall translates: 'Long live our Sultan'.[Printing-out paper, 194x241mm]. Full-length standing portrait of two students[Albumen print, 187x241mm]. Full-length standing portrait of two students from the school.[Printing-out paper, 198x251mm]. Full-length standing portrait of two students from the school seen in print 22.[Albumen print, 190x252mm]. Full-length standing portrait of two Tibetan soldiers: 'The Commanders-in-Chief have had designed a new pattern of uniform, and 30 suits have been made, and were on view at the Review yesterday. Today half a dozen soldiers were sent round for Gould to see this new outfit. We had made amongst ourselves very caustic criticism of the Wolseley helmets and badly fitting khaki drill with which the Tibetans are fitted out. This new dress, all of country cloth and materials and with Tibetan boots is very practical and a great improvement.' (Lhasa Mission Diary, 8 September 1936).[Gelatin silver print, 92x141mm]. Full-length standing portrait of two uniformed apprentices.[Printing-out paper, 239x294mm]. Full-length standing portrait of two uniformed apprentices.[Printing-out paper, 243x298mm]. Full-length standing portrait of two uniformed cavalry officers. Full-length standing portrait of two uniformed chuprassis.[Sepia toned print, 79x130mm]. Full-length standing portrait of two uniformed firemen.[Printing-out paper, 228x283mm]. Full-length standing portrait of two uniformed naval police officers, posed against a seascape backdrop.[Printing-out paper, 244x304mm]. Full-length standing portrait of two uniformed officers. The framed text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x242mm]. Full-length standing portrait of two uniformed officers. The framed text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x251mm]. Full-length standing portrait of two uniformed officers. The text framed on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x251mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 162x233mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 169x240mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 175x239mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 182x222mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 188x226mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 191x249mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 196x250mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 196x255mm]. Full-length standing portrait of two uniformed pupils.[Albumen print, 198x250mm]. Full-length standing portrait of two uniformed pupils. Print in very poor condition, fading and overall spotting caused by glue contamination.[Albumen print, 190x248mm]. Full-length standing portrait of two uniformed pupils. Print in very poor condition, with overall spotting and fading.[Albumen print, 198x241mm]. Full-length standing portrait of two uniformed students, posed against a seascape backdrop.[Printing-out paper, 228x281mm]. Full-length standing portrait of two uniformed students, posed against a seascape backdrop.[Printing-out paper, 237x295mm]. Full-length standing portrait of two uniformed students.[Albumen print, 171x240mm]. Full-length standing portrait of two uniformed students.[Albumen print, 178x238mm]. Full-length standing portrait of two uniformed students.[Albumen print, 179x239mm]. Full-length standing portrait of two uniformed students.[Albumen print, 180x245mm]. Full-length standing portrait of two uniformed students.[Albumen print, 182x240mm]. Full-length standing portrait of two uniformed students.[Albumen print, 186x241mm]. Full-length standing portrait of two uniformed students.[Albumen print, 192x243mm]. Full-length standing portrait of two uniformed students.[Albumen print, 192x250mm]. Full-length standing portrait of two uniformed students.[Albumen print, 198x252mm]. Full-length standing portrait of two uniformed students.[Albumen print, 199x252mm]. Full-length standing portrait of two uniformed students.[Albumen print, 199x256mm]. Full-length standing portrait of two uniformed students.[Albumen print, 200x256mm]. Full-length standing portrait of two uniformed students.[Albumen print, 254x200mm]. Full-length standing portrait of two uniformed students.[Printing-out paper, 193x248mm]. Full-length standing portrait of two uniformed students.[Printing-out paper, 198x252mm]. Full-length standing portrait of two uniformed students.[Printing-out paper, 239x292mm]. Full-length standing portrait of two uniformed students. Poor quality print, with overall spotting. The text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x251mm]. Full-length standing portrait of two uniformed students. The text on the wall translates: 'Long live our Sultan'.[Albumen print, 197x251mm]. Full-length standing portrait of two uniformed students. The text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x246mm]. Full-length standing portrait of two uniformed students. The text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x249mm]. Full-length standing portrait of two uniformed students. The text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x250mm]. Full-length standing portrait of two uniformed students. The text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x251mm]. Full-length standing portrait of two uniformed students. The text on the wall translates: ' Long live our Sultan'.[Printing-out paper, 198x251mm]. Full-length standing portrait of two uniformed students. The text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x251mm]. Full-length standing portrait of two water-carriers, posed against a painted backdrop.[Printing-out paper, 260x319mm]. Full-length standing portrait of two young apprentices.[Printing-out paper, 244x297mm]. Full-length standing portrait of two young pupils.[Albumen print, 178x242mm]. Full-length standing portrait of two young pupils.[Albumen print, 183x237mm]. Full-length standing portrait of two young pupils.[Albumen print, 189x252mm]. Full-length standing portrait of two young pupils.[Albumen print, 194x248mm]. Full-length standing portrait of two young pupils.[Albumen print, 199x253mm]. Full-length standing portrait of two young pupils.[Albumen print, 199x254mm]. Full-length standing portrait of two young pupils.[Albumen print, 199x259mm]. Full-length standing portrait of two young pupils.[Albumen print, 200x252mm]. Full-length standing portrait of two young pupils.[Albumen print, 200x252mm]. Full-length standing portrait of two young pupils.[Albumen print, 200x254mm]. Full-length standing portrait of two young pupils.[Albumen print, 200x255mm]. Full-length standing portrait of two young pupils.[Albumen print, 201x250mm]. Full-length standing portrait of two young pupils.[Albumen print, 201x253mm]. Full-length standing portrait of two young pupils.[Albumen print, 201x254mm]. Full-length standing portrait of two young pupils.[Albumen print, 201x254mm]. Full-length standing portrait of two young pupils.[Albumen print, 201x257mm]. Full-length standing portrait of two young pupils.[Albumen print, 202x258mm]. Full-length standing portrait of two young students.[Printing-out paper, 242x303mm]. Full-length standing portrait of uniformed guard. Probably taken at Mong Nai.[Albumen print, 75x105mm]. Full-length standing portrait of Venkat Raman Singh. Full-length standing portrait of W.F. Harnett, wearing the uniform of the Eastern Bengal State Railway Volunteers and holding his sword. Full-length standing portrait of William Adam Anstruther, in uniform. This is a larger copy from the carte-de-visite at print 19a. A note in Lady Bayley's hand beneath the print reads: 'Col. A.T. was Charlotte's godfather and my dearest friend. He died Augt. 1865 in Calcutta'. [127x199mm]. Full-length standing portrait of William Hatt Noble, Royal Engineers 1847-86, with his wife and dog.[Albumen print, 112x153mm]. Full-length standing portrait of William Ritchie. He held the position of Legal Member of the Supreme Council of India from September 1861 until his death in March 1862. Full-length standing portrait of young man. Full-length standing portrait of young Tibetan. Full-length standing portrait of Zouave soldier with bugle raised to lips. Print in poorish condition, with overall spotting.[Albumen print, 297x372mm]. Full-length standing portraits. Full-length standing portraits. Full-length standing portraits. Full-length standing portrait Full-length standing portrait view of the crew and the commanders, in uniforms, on the deck. A bugler stands next to a commander in the foreground. The commander is facing the photographer. On the right, a marine is preparing the cannon.[Albumen print, 310x385mm]. Full-length standing portrait view of two students, in uniforms, standing in front of a wall.[Albumen print, 380x301mm]. Full-length standing snapshot portrait of Alexander Ivanovich Iyas (1869-1914), Head of the Anti-Plague Defence at Turbat-i-Haidari and Russian Consul. Full-length standing studio carte-de-visite portrait in Yarkund costume, of Clara Jane Younghusband (1832-1891), sister of Robert Shaw.[Albumen print, 59x96mm]. Full-length standing studio portrait, carte-de-visite size. Duplicate at Photo 430/74 (6). Full-length standing studio portrait, carte-de-visite size. Duplicate at Photo 430/74 (7). Full-length standing studio portrait, holding a sword, and presumably taken at or around the time of Lord Curzon's visit. Full-length standing studio portrait, in Cameronians uniform.[Sepia toned print, 116x188mm]. Full-length standing studio portrait, in military uniform, presumably taken in Burma.(?)Printing-out paper, 95x137mm]. Full-length standing studio portrait, in military uniform. William George Cubitt (1835-1903) joined the 13th Bengal Native Infantry in 1853 and won the Victoria Cross during the Indian Mutiny. He retired from the army in 1892. Modern copy print from an original photograph in the National Army Museum. Full-length standing studio portrait, in uniform, of Major-General Sir Sydney D'Aguilar Crookshank (1870-1941), Royal Engineers, Secretary to Government of India, PWD 1910-23, Member of Legislative Council 1921-23, Commandant of Simla Rifles 1922-23, Chief Engineer, Southern Command 1925-27. Signed on mount 'S.D'A. Crookshank, Simla, 1923.'[Gelatin silver print, 144x199mm]. Full-length standing studio portrait, in uniform.[Albumen print, 53x86mm]. Full-length standing studio portrait, in uniform. Oval photograph on porcelain. Dragoon Guards. Military Secretary to Lord Curzon, 1905. Full-length standing studio portrait, in uniform. Full-length standing studio portrait, in viceregal robes, of Charles Hardinge (1858-1944), 1st Baron Hardinge of Penshurst, Viceroy of India 1910-16. Signed 'Hardiinge of Penshurst 1916.'[Gelatin silver print, 130x207mm]. Full-length standing studio portrait, posed beside a table, carte-de-visite size. Duplicate at Photo 430/74 (8). Full-length standing studio portrait, probably taken on the same occasion as Mss Eur E267/171 (39).[150x202mm]. Full-length standing studio portrait, signed 'Doreen Linlithgow 1938'.[Gelatin silver print, signed by photographer on mount, 161x212mm]. Full-length standing studio portrait, signed on mount 'S. Madho Singh', and with pencilled note on reverse reading, 'H.H. the Maharaja of Jaipur, whose transport train is coming with Expedy. Force, 1915.' Full-length standing studio portrait, taken in London. Full-length standing studio portrait, wearing robes of office and GCSI. Sir Chamrajendra Wadiyar (1863-1894), succeeded as a minor in 1868, and ruled 1881-94. He died at Calcutta on 28 December 1894. Full-length standing studio portrait, with a seascape backdrop and a bull terrier at his feet. Inscribed on mount, 'Yours v. sincerely Mahabat Khan Oct 30th 1934.' Probably photographed at Jamnagar. Full-length standing studio portrait.[100x151mm]. Full-length standing studio portrait.[Gelatin silver print, 81x133mm]. Full-length standing studio portrait.[Gelatin silver print, mounted on photographer's board, 153x203mm]. Full-length standing studio portrait. Considerable yellowing and fading. Full length standing studio portrait. Part of the print has been cut away. Full-length standing studio portrait. Print signed by photographer at bottom right. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, 'The History of the Imperial Assemblage at Delhi' (London [1877]).Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Mounted and stored separately in Box 662. Full-length standing studio portrait. Print signed by photographer at bottom right. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, 'The History of the Imperial Assemblage at Delhi' (London [1877]). Second copy neg at B.8901.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Mounted and stored separately in Box 662, Shelf 92C. Full-length standing studio portrait. Print signed by photographer at bottom right. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, The history of the Imperial Assemblage at Delhi (London [1877]).Mounted and stored separately in Box 662, Shelf 92C. Full-length standing studio portrait. Print signed by photographer at bottom right. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, The history of the Imperial Assemblage at Delhi (London [1877]). Full-length standing studio portrait. Second copy neg at B.6262. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait. Full-length standing studio portrait. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, 'The history of the Imperial Assemblage at Delhi' (London [1877]). Full-length standing studio portrait in formal robes.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Mounted and stored separately in Box 662, Shelf 92C. Full-length standing studio portrait of Admiral Hasan Pasha, in naval uniform.[Albumen print, 351x 260mm]. Full-length standing studio portrait of an Indian officer.[Gelatin silver print, 112x197mm]. Full-length standing studio portrait of an unidentified uniformed officer, posed in the same studio setting as print 17.[Printing-out paper, 236x292mm]. Full-length standing studio portrait of a student in traditional dress.[Albumen print, 187x253mm]. Full-length standing studio portrait of a uniformed student.[Albumen print, 193x255mm]. Full-length standing studio portrait of Faik Pasha, in uniform.[Albumen print, 371x293mm]. Full-length standing studio portrait of Hasan Pasha, in naval uniform.[Albumen print, 372x289mm]. Full-length standing studio portrait of Lady Dorothy Irwin.[Gelatin silver print, signed 'Dorothy Irwin', 136x203mm]. Full-length standing studio portrait of Lord Irwin, Viceroy of India 1926-31, wearing viceregal robes.[Gelatin silver print, signed 'Irwin 1931', 136x205mm]. Full-length standing studio portrait of Maharaja Juddha Shamsher Jang (d. 1952), Prime Minister of Nepal 1932-45. According to Laithwaite's note on the reverse, the photograph was taken in Calcutta. Signed and dated 1938 on print.[Gelatin silver print, 217x292mm]. Full-length standing studio portrait of Maharaja Sir Pratapsinha (1908-1968), Gaekwar of Baroda from 1939. Signed and dated 17 January 1940.[Gelatin silver print, 225x320mm]. Full-length standing studio portrait of Mehmed Pasha, in naval uniform.[Albumen print, 362x285mm]. Full-length standing studio portrait of Ram Singh, Maharaja of Jaipur from 1835-80.[Albumen print, 97x136mm]. Full-length standing studio portrait of Saw Maung, in ceremonial robes and helmet. Probably taken during the Delhi Durbar of 1902-03 (either at Calcutta or Delhi: see also print 4).[Gelatin silver print, 152x207mm]. Full-length standing studio portrait of Saw Maung and his wife, both wearing ceremonial court dress. This is a later copy (probably pirated) of the original portrait by Klier, which can be found at print 19.[?Printing-out paper, mounted on card with photographer's stamp in Burmese and English,151x227mm]. Full-length standing studio portrait of Saw Maung and his wife, both wearing ceremonial court dress (malliga). This is the original portrait of which print 6 is a later copy.[Albumen print, mounted on card stamped 'P. Klier, Rangoon', 156x194mm]. Full-length standing studio portrait of Shah Jahan Begum (1838-1901), Begum of Bhopal 1868-1901, probably photographed at Calcutta.[Albumen print, 96x137mm]. Full-length standing studio portrait of Sir Aditya Narayan Singh (1875-1939), Maharaja of Benares 1931-39, signed 'Aditya Narain' in top right corner.[Printing-out paper, 66x95mm]. Full-length standing studio portrait of Sir Bhawani Singh (1873-1929), Maharaja of Jhalawar 1899-1929. Signed 'Bhawani Singh 1912'.[146x199mm]. Full-length standing studio portrait of Sir Ganga Singh (1880-1943), Maharaja of Bikaner 1887 (succeeded as minor) to 1943. Full-length standing studio portrait of Sir Jagajit Singh (1872-1949), Maharaja of Kapurthala 1877 (succeeded as minor), ruled from 1890. Print signed 'Jagajit Singh 1914.' Photographed at the Calcutta studio of Bourne & Shepherd.[?Platinum print, 133x195mm]. Full-length standing studio portrait of Sir Krishnaraja Wadiyar (1884-1940), Maharaja of Mysore, succeeded as minor 1894.[86x138mm]. Full-length standing studio portrait of Sir Rama Varma (1852-1943), Raja of Cochin 1895-1914 (abdicated).[Gelatin silver print, mounted on board signed 'Rama Varma', 247x349mm]. Full-length standing studio portrait of Sir Sadiq Muhammad Khan (1904-1966), Nawab of Bahawalpur (succeeded as minor 1907, ruled from 1924). Signed and dated 12 March 1940.[Gelatin silver print, 255x322mm]. Full-length standing studio portrait of Sir Salar Jang (1829-1883), Prime Minister of Hyderabad, probably photographed in Calcutta.[Albumen print, 96x137mm]. Full-length standing studio portrait of Sir Umed Singh (1873-1940), Maharao of Kota, succeeded as minor 1889, ruled 1896-1940. Photograph unsigned, but almost certainly by Herzog & Higgins. Signed 'Umaid Singh Dec 1898' in bottom right corner.[Platinum prints, 176x290mm]. Full-length standing studio portrait of the Turkish Minister of War, Riza Pasha, in uniform. Print in poorish condition, with overall spotting.[Albumen print, 298x380mm]. Full-length standing studio portrait of the uniformed commanding officer (unidentified), posed against a seascape backdrop, with an anchor on the ground beside him.[Printing-out paper, 236x292mm]. Full-length standing studio portrait of the young prince. Caption notes read: 'Prince Kantirava Narasimharaj Wodeyar, the Yuvaraja, is the fifth child and second son of H.H. the late Maharaja [Sir Chanrajendra Wadiyar].' Full-length standing studio portrait of two buglers.[Printing-out paper, 253x312mm]. Full-length standing studio portrait of two buglers.[Printing-out paper, 253x313mm]. Full-length standing studio portrait of two cavalrymen.[Printing-out paper, 255x314mm]. Full-length standing studio portrait of two engineering students. Print in poor condition, overall yellowing.[Printing-out paper, 258x320mm]. Full-length standing studio portrait of two pupils at the military academy. Print in poor condition, with overall spotting. The text framed on the wall translates: 'Long live our Sultan'.[Albumen print, 192x246mm]. Full-length standing studio portrait of two pupils from the school seen in print 10.[Albumen print, 190x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 11.[Albumen print, 190x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 13.[Albumen print, 190x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 15.[Albumen print, 188x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 17.[Albumen print, 189x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 17.[Albumen print, 189x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 19.[Albumen print, 191x251mm]. Full-length standing studio portrait of two pupils from the school seen in print 23.[Albumen print, 188x243mm]. Full-length standing studio portrait of two pupils from the school seen in print 24.[Albumen print, 190x251mm]. Full-length standing studio portrait of two pupils from the school seen in print 26.[Albumen print, 190x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 28.[Albumen print, 191x251mm]. Full-length standing studio portrait of two pupils from the school seen in print 3.[Albumen print, 190x250mm]. Full-length standing studio portrait of two pupils from the school seen in print 3.[Albumen print, 190x251mm]. Full-length standing studio portrait of two pupils from the school seen in print 5.[Albumen print, 185x251mm]. Full-length standing studio portrait of two pupils from the school seen in print 5.[Albumen print, 191x252mm]. Full-length standing studio portrait of two pupils from the school seen in print 7.[Albumen print, 187x251mm]. Full-length standing studio portrait of two pupils from the school seen in print 9.[Albumen print, 190x251mm]. Full-length standing studio portrait of two pupils from the school seen under construction in print 30.[Albumen print, 190x251mm]. Full-length standing studio portrait of two schoolchildren in uniform.[Albumen print, 184x248mm]. Full-length standing studio portrait of two soldiers, armed with rifles.[Printing-out paper, 253x310mm]. Full-length standing studio portrait of two soldiers.[Printing-out paper, 253x310mm]. Full-length standing studio portrait of two soldiers.[Printing-out paper, 254x314mm]. Full-length standing studio portrait of two students.[Albumen print, 164x208mm]. Full-length standing studio portrait of two students.[Albumen print, 192x253mm]. Full-length standing studio portrait of two students.[Albumen print, 194x260mm]. Full-length standing studio portrait of two students.[Albumen print, 194x261mm]. Full-length standing studio portrait of two students.[Albumen print, 195x246mm]. Full-length standing studio portrait of two students.[Albumen print, 195x251mm]. Full-length standing studio portrait of two students.[Albumen print, 195x253mm]. Full-length standing studio portrait of two students.[Albumen print, 196x248mm]. Full-length standing studio portrait of two students.[Albumen print, 197x254mm]. Full-length standing studio portrait of two students.[Albumen print, 197x256mm]. Full-length standing studio portrait of two students.[Albumen print, 198x247mm]. Full-length standing studio portrait of two students.[Albumen print, 198x250mm]. Full-length standing studio portrait of two students.[Albumen print, 198x251mm]. Full-length standing studio portrait of two students.[Albumen print, 198x252mm]. Full-length standing studio portrait of two students.[Albumen print, 198x253mm]. Full-length standing studio portrait of two students.[Albumen print, 198x255mm]. Full-length standing studio portrait of two students.[Albumen print, 199x251mm]. Full-length standing studio portrait of two students.[Albumen print, 199x251mm]. Full-length standing studio portrait of two students.[Albumen print, 199x252mm]. Full-length standing studio portrait of two students.[Albumen print, 199x255mm]. Full-length standing studio portrait of two students.[Albumen print, 200x251mm]. Full-length standing studio portrait of two students.[Albumen print, 200x253mm]. Full-length standing studio portrait of two students.[Albumen print, 200x254mm]. Full-length standing studio portrait of two students.[Albumen print, 200x256mm]. Full-length standing studio portrait of two students.[Printing-out paper, 258x323mm]. Full-length standing studio portrait of two students.[Printing-out paper, 258x323mm]. Full-length standing studio portrait of two students. The framed text on the wall translates: 'Long live our Sultan'.[Printing-out paper, 198x252mm]. Full-length standing studio portrait of two students. The text framed on the wall translates: 'Long live our Sultan'.[Printing-out paper, 192x242mm]. Full-length standing studio portrait of two students. The text framed on the wall translates: 'Long live our Sultan'.[Printing-out paper, 197x245mm]. Full-length standing studio portrait of two students from the Beirut school seen in print 8.[Albumen print, 189x251mm]. Full-length standing studio portrait of two students from the military school of medicine, in uniforms. The script framed on the wall translates: 'Long live our Sultan'.[Albumen print, 198x245mm]. Full-length standing studio portrait of two students in traditional dress.[Albumen print, 199x254mm]. Full-length standing studio portrait of two young students.[Albumen print, 188x255mm]. Full-length standing studio portrait of two young students.[Albumen print, 190x249mm]. Full-length standing studio portrait of two young students.[Albumen print, 191x251mm]. Full-length standing studio portrait of two young students.[Albumen print, 195x254mm]. Full-length standing studio portrait of two young students.[Albumen print, 196x251mm]. Full-length standing studio portrait of two young students.[Albumen print, 197x254mm]. Full-length standing studio portrait of two young students.[Albumen print, 198x253mm]. Full-length standing studio portrait of two young students.[Albumen print, 198x254mm]. Full-length standing studio portrait of two young students.[Albumen print, 199x254mm]. Full-length standing studio portrait of two young students.[Albumen print, 199x259mm]. Full-length standing studio portrait of two young students.[Albumen print, 200x253mm]. Full-length standing studio portrait of two young students. The text framed on the wall translates: 'Long live our Sultan'.[Printing-out paper, 193x246mm]. Full-length standing studio portrait of U Gaing, wearing ceremonial robe and hat, and with his left hand resting on a palm-leaf manuscript which stands on a small table. This appears to be a copy photograph, possibly with some retouching around the face.[Cabinet portrait, 107x142mm]. Full-length standing studio portrait of Vijayaram Gajapatiraj (d. 1879), Maharaja of Vijayanagaram 1852-79.[Albumen print, 96x136mm]. Full-length standing vignetted studio portrait of Sir Bala Rama Varma (1857-1924), Maharaja of Travancore 1885-1924. Here seen wearing robes and insignia of the Star of India. Full-length statue of Curzon. This is statue unveiled in Calcutta in April 1913 (see Photo 430/61), seen here possibly in the artist's studio.[Gelatin silver print, mounted on brown card, 131x290mm]. Full length studio cabinet portrait. Duplicate of Photo 556/2 (8), which has pencilled identification on reverse of print. Possibly the mother of Edith Helen Barnes. Full-length studio group portrait of uniformed figures. The only identification supplied is of John Charles Morice (1834-1898), Indian Medical Service 1856-92. Photograph probably taken in the Punjab, possibly by Baker & Burke (compare studio backdrop to that in print 70). Full-length studio of the Prince and Princess, seated on a carved wood couch, with a painted backdrop behind them.[Albumen print, on mount stamped 'P. Klier Signal Pagoda Road, Rangoon', 185x152mm]. Full-length studio portrait, leaning against a table holding a sword. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, The history of the Imperial Assemblage at Delhi (London [1877]). Full-length studio portrait, on 'Boudoir' size mount. Full-length studio portrait, seated at a table, of Major-General Sir George Hall Macgregor (1810-1833), Bengal Artillery 1826-59, Brigadier-General at the capture of Lucknow.[Albumen print, 60x90mm]. Full-length studio portrait, seated on a couch. Print signed by photographer at bottom right. This portrait is also reproduced in woodburytype in J. Talboys Wheeler, The history of the Imperial Assemblage at Delhi (London [1877]). Second copy neg at B.8904. Full-length studio portrait, seated with left air resting on a table. Signed in bottom right corner of print: 'Yours sincerely, Tashi Namgyal 11.10.21.' Card mounted printed 'A portrait by Bourne & Shepherd, India.' Probably photographed at Bourne & Shepherd's Calcutta studio. Full-length studio portrait, seated with three of his children. Photograph inserted in official chirstmans card for 1928.[175x235mm]. Full-length studio portrait, showing Zetland posed with a hunting rifle and wearing a turban. Background touched out. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), frontispiece. In the published version the photograph is credited to 'Metcalfe, Richmond, Yorkshire.' Full-length studio portrait, signed 'Ganga Singh, Bikaner 1911'. Full-length studio portrait, Sir Lancelot in Civil Service uniform, Lady Graham in a long dress. Signed by both figures, and dated 8 February 1939 by Sir Lancelot. Full-length studio portrait, sitting in a rattan chair. Postcard print signed on the verso: 'Wishing you the compliments of the season, Albert E. Johnson, 1918'. Full-length studio portrait, standing beside a throne.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Mounted and stored separately in Box 662, Shelf 92C. Full-length studio portrait, the sitter facing the camera. The caption and photographer's details are printed on the mount. Full-length studio portrait, with Sir Louis in Civil Service uniform. Lady Edith is seated beside him in a long dress. Full-length studio portrait, with Sir Roger in civil service uniform and Lady Katherine in a long dress. Signed by both figures. Full-length studio portrait. Modern colour copy print. Full-length studio portrait. No identifications supplied. Full-length studio portrait. Full-length studio portrait. Full-length studio portrait. Full-length studio portrait. Full-length studio portrait. The Maharaja is standing with his right hand resting on a table. The backdrop and furnishings are similar to those in Print 33 and the photograph is possibly by Bourne & Shepherd. Second copy neg at B.6259. Full-length studio portrait. The photographer's blindstamp on the mount is indecipherable, although the location is given as Jaipur. Full-length studio portrait. The print is contained in a silver frame and has been signed: 'Ganga Singh, 1937'. The photographer's name and date are on the print verso. Full-length studio portrait. The print is contained in a wooden frame decorated with silver brackets and has been signed: 'Your Excellency's sincere friend, Mir Osman Ali Khan, 19th October 1911'. Full-length studio portrait of Alfred and Mrs A. Master. Mrs Master is eated, with her husband standing beside her, the pair posed in front of a studio backdrop of an architectural interior.[193x264mm]. Full-length studio portrait of an unidentified officer. Full length studio portrait of five senior army officers, in uniform. General Sir William Galbraith stands in the centre; second from the left is Captain H.M.S. O'Brien (Border Regiment); fourth from left is Captain Digby Lighton Mallaby (Royal Engineers). The remaining two figures are unidentified. Full-length studio portrait of seven cavalry officers, identified on accompanying slip as follows: Major [G.B.] Unwin; Capt Fane; D.S.C. [Capt D.S. Cuninghame]; Maj [G.C.] Bird; Col [Charles Smith] Maclean [Commander]; Capt [J.R.B.] Atkinson; Capt [H. de la M.] Hervey. Full-length studio portrait of Sultan Jahan Begum (1858-1930), Begum of Bhopal 1901-26 (abdicated), seated at desk holding a letter. Mounted on card, signed and dated 'Sultan Jahan 23-[?]9-14.' Full-length studio portrait of the two boys. Full-length studio portrait of two women, seated on a carpet in front of a backdrop of a painted rustic scene. The faces of both women are heavily made up in white. The notes accompanying the photographs identify these women as wives of the Sawbwa of Yaunghwe, but this appears unlikely.[217x279mm]. Full-length study of bride and groom standing in porte-coch�re of an unidentified building on the day of their wedding.[Silver printing-out paper, 218x291mm]. Full-length view of the crew and commanders, in uniforms, on the deck of the ship.[Albumen print, 305x385mm] Full-length view of the crew and the commanders of the ship, in uniforms, on the rear deck of the ship. The crew and the commanders are photographed around a cannon that is prepared to be fired. The commanders are lined up at the back, some facing the photographer and wearing medals on their chest.[Albumen print, 309x384mm]. Full-lenth standing studio portrait of two pupils from the school seen in print 19.[Albumen print, 190x251mm]. Full side length view of a lifeboat. The crew and the instructor in uniforms.[Albumen print, 291x367mm]. Full-Standing group portrait of Mehmed Pacha and the staff of the ship, in naval uniforms on the deck of a ship.[Albumen print, 308x379mm]. Full-standing group portrait of the students and staff, in uniforms and swords. The students are arranged in groups of two, symetrically on either side of the photograph, on a beach. Their teacher is photographed at the centre back (similar to print 27).[Albumen print, 309x382mm]. Full-standing portrait of Faik Bey wearing a naval uniform and with a sword in his hand. He is portraid standing between two cannons on the deck of the ship.[Albumen print, 374x312mm]. Full-Standing portrait of Muhiddin Bey, in naval uniform, holding gloves in one hand and a sword in the other. Portrayed next to a cannon on the deck of the ship (print with overall spotting).[Albumen print, 362x294mm]. Full-standing view of the crew of the ship, in uniforms, on the deck of the ship. The marines are photographed loading and moving a cannon. A bugler and a commander stands in the foreground.[Albumen print, 310x378mm]. Full view of a rescue drill, on a bay in Sile. The members of the rescue team and instructor, in uniforms, near the water. Rescue equipment is laid out ready on the beach.[Albumen print, 310x382mm]. Full view of the horse and its rider, in uniform.[Albumen print, 241x311mm]. Full view of the lifeboatmen, in uniforms, capsizing a boat near the shore.[Albumen print, 308x384mm]. Full view of the lifeboatsmen, in uniforms, during capsizing a boat for practice (similar to print 40).[Albumen print, 310x386mm]. General view. Duplicate at Photo 114 (29). General view of full-length statue. Caption notes read: 'Sir James Davidson Gordon, K.C.S.I., Guardian to H.H. the Maharaja Chama Rajendra Wodeyar Bahadur, G.C.S.I., 1871-1873, Chief Commissioner of Mysore, 1878-1881, and Resident in Mysore, 1881-1882.' General view of Richard Noble's statue of Queen Victoria, showing her seated on a throne beneath a gothic canopy. A number of Parsi onlookers stand in the foreground. The statue was unveiled in 1872 and this photograph (which shows the monument surrounded by a makeshift wooden fence) must therefore have been taken very shortly after the opening. The statue used to stand near the Telegraph Office. General view of statue and surrounding platform. General view of the hunt and hounds lined up. Geoffrey Ramsden's servants grouped around the pony trap in front of the porte coch�re of the Assistant Commissioner's bungalow. Geoffrey Ramsden seated on mountain top south of Gulmarg. George and Mary Curzon sitting in front of the Curzon family, including Lord Scarsdale and Curzon's brothers and sisters: 'Hon Geraldine C.; Hon Frank C.; Hon Margaret C.; Miss L.O. Keover [?]; MVC [Mary Curzon]; Lord Scarsdale; GNC [George Curzon]; Hon Assheton C.; Hon Mrs MacMichael; Hon Elinor C.; Sir J. Miller; Hon Lady Miller; Hon Alfred C.'. George Leveson-Gower being teased by friends on his coming of age. The group includes: 'A.H. Hardinge; Hon G.N. Curzon; W.R. Lawrence [Walter Roper Lawrence who later bacame Curzon's Private Secretary in India]; J.R. Rodd; H.E. Boulton; G. Leveson-Gower; L.K. Shoobridge; W. Radcliffe; R.R. Farrer'. Good quality snapshot. Groom standing beside Bell's riding mule. Group, including Lal Jahawir Singh, Raja of Sarangarh, seated round tables in front of the palace at Sarangarh, almost certainly taken on the same occasion as print 6, which is dated February 1931.[Gelatin silver print, 285x233mm]. Group (including Sir Herbert Thirkell White and Charles Pennell) taking tea in the garden, with Government House in the background.Probably taken around the time of prints 9-10b.[Oval image, 140x101mm]. Group at Government House named as follows: 'Earl of Suffolk; Cap C. Wigram; [Two unidentified men]; Cap G. Baker-Carr; Cap R. Marker; [Two unidentifed men]; H.J. [F.W.] Latimer; W.R. Lawrence; Miss Macdonnell; Sir A. Macdonnell, LG; Lady Curzon; Viceroy; Lady Macdonnell; [Unidentified woman]; Sir H. Barnes'. Group at table at the residence of the British Mission, with Captain Ilya Tolstoy in the centre. Group at the top of a mountain. Group being served tea on the lawn of the Residency at Hyderabad. Named as: 'Colonel Hastings Fraser, [Indian official], [C.B. Saunders], Mrs Robson, Capt Robson, RA'. Group flanked by chobdars. Group formally posed in front of three arches. Meston is seated in the centre. Group gathered outside the house, named as follows: 'Winston Churchill; Lord W. Beresford; GNC [Curzon]; Col Brabazon; Cap S. Wilson; Miss Batten; A. Sassoon; Cap G. Halford; HRH the Prince of Wales; D[uchess] of Marlborough; MVC [Mary Curzon]; Mrs Batten; Admiral [Sir Henry Keppel]'. Group gathered round telescope and heliograph. Probably taken on the same occasion as print 9.[Gelatin silver print, 80x137mm]. Group having tea on the lawn. Group identified as: 'Major R. Murray, RA; H. Murray, RHA; G. Murray, 21st MNI'. The only definite identification is that of Lieutenant George Murray who served with the 21st Madras Native Infantry. The other two are less easily identified although 'R.Murray' may be Captain Robert Murray (Royal Artillery), Director of the Western Division of the Electric Telegraph Dept.[Albumen print, 178x212mm]. Group in camp, probably in Sindh (present-day Pakistan). Group includes: back row from left, Colonel Robert Patton, unknown, General St George Showers, John Murray and unknown; sitting from left, unknown woman, Mrs Marianne Murray, Carrie Murray and unknown woman. Small faded print. Group includes: Ram Singh (SP); Dr Brown (missionary); J.T.M. Bennett (IG); J.A. Scroggie (DIG); G.M. Chandhri (police contractor, back row, wearing fez). Group includes British officials and protectorate chiefs. Group includes clergy and H.H. Spalding (standing on the left). Group includes Curzon, Walter Roper Lawrence and Romer Edward Younghusband who later worked in the Punjab. Sitters named as follows: 'Hon W.N. Bruce; W. Trevor; A.T. Kent; Lord H. Russell; G. Sclater-Booth; J. Twigg; T.C. Farrer; A.J. Grahame; R.W. Simpson; A.O.F. Shaen; A.T. Bright; C.A. James; M.T. Tatham; W.A.B. Shand; J.D. Rogers; J.V. Jones; T.R. Clark; C.A. Spring Rice; E.A. Upcott; A.H. Hardinge; W.R. Lawrence; W.H.P. Rowe; P.L. Gell; Hon G.N. Curzon; B.W. Randolph; R.E. Younghusband; J.T. Wills'. Group includes European cavalry officers and Indian servants. Group includes European cavalry officers on horseback and Indian servants. Group includes Indian servants and the following named Europeans: 'T.J. Kennedy, CS, F. Haden Cope, Dr Burne, J.R.D.S. [Dunlop Smith]'. Group includes J.R. Dunlop Smith, Lord Sinha and the Maharaja of Bikaner. Group includes Lieut-Colonel Reilly. Group includes Lieut-Colonel Reilly standing on the left. Group includes Major A.J. Eccleston, Royal Army Education Corps. Group includes officers from the 5th Punjab Cavalry under the command of Major W.H. Paget (see Print 35) and the following individuals: Captain James Crofton, Colonel A.T. Wilde, T.D. Forsyth, Captain C.M. Mercer, T.H. Thornton and Colonel E.J. Lake. Group includes the Chief Engineer, W.H. Spalding. Group includes the father, a son and daughter, Rita. The doctor is standing holding a stethescope and 'Rita' is wearing a nurses' watch. Group includes the Jacobs and Charles Stotherd. Group includes the Maharaja of Bikaner. Group includes the mother and two sons with Indian servants. Group includes the same five bridesmaids seen in Print 292, with the addition of two officers, one of whom is presumably the groom. It is possible that this photograph was taken at the wedding of Miss Ellen Sievwright (centre?) to Lieutenant Walter Lascelled of the 3rd Bn Rifle Brigade, at Agra in 1861. Group includes W.H. Spalding, Chief Engineer, SIR. Group includes Wilberforce-Bell. Group including S.M. Maxwell, Colebrook and Sgt McDonald. First-aid equipment and a silver trophy are laid out in front of the group. Group in costume. Amateur dramatics? Group in costume for amateur theatricals. Lady White, wife of Sir Herbert Thirkell White, Lieutenant-Governor of Burma, is seated in the centre. Taken on the same occasion as print 20.[Albumen print, signed 'P. Klier Rangoon' in the negative, 270x211mm]. Group in Elizabethan dress: 'The scene is from Kenilworth. Mrs Lesley Saunders, Queen Elizabeth. Mrs Beadon, Amy Robert. Captain Marshal, Earl of Leicester. Mrs Macaulay and Mrs Marshall, ladies in waiting. '[Albumen print, 191x165mm]. Group in England. Group in garden. Frank Ludlow is seated on the left, with Frederick Marshman Bailey and Irma Bailey in the centre. Group in garden in front of house.[Sepia-toned print, 134x160mm]. Group in pierrot costumes posed on the terrace of Government House. Print unsigned, but probably by Klier.[Gelatin printing-out paper, 270x191mm]. Group inspecting sculptures, which are piled against a wall. The people present are identified as Robert Sewell, Sir Robert Highet, G. Richards, G. Peddie, Cyril Lloyd Jones.[Gelatin silver print, 131x75mm]. Group in theatrical costume, identified on reverse as: Group in the Order of the Black Heart uniform, below a banner bearing the club's motto: 'He is not so ____, as he is black'. Sitters named on verso: 'Back row (l.r) Bartley (ICS, Joint Secy, Legislative Dept), Griffin (ICS, Secy to the AGG, Punjab States), Col Grasett (Army Headquarters), Tottenham (ICS, Secy, Army Dept), Colvin (Railway Board), Freeman-Thomas (nephew and ADC to the Viceroy), Low (ICS, now Under-Secy, Punjab), Major Lawrence (Private Secy to Governor, Punjab), Shearer, Edwardes (ADC to Governor, Punjab). Sitting (l to r) Garbett (Chief Secy, Punjab), Sir Henry Craik (Finance Member, Punjab), General Sir Kenneth Wigram (Chief of the General Staff, ""Grand Master""), Shillidy (ICS, Secy, Industries & Labour Dept), Brigadier Campbell (Advisor, Indian State Forces)'. Group is outside the building seen in Print 27.[Platinum print.] Group is sitting round a table. Named in an accompanying manuscript list as: '[From left] 1. Major Holmes, Ass. Adj. Genl of Army; 2. Lieut Burne, Military Secretary; 3. Lt Col Hatch, Judge Advocate General of the Army; 4. Lt Col Gawler, Dep. Adj. Genl, HM Forces; 5. Lt Col Butt, 79th, Chief Inspector of Musquetry; 6. Capt Warren, RA, Dep. Qr. Master Genl RA; 7. Capt Fraser, Ass. Adj. Genl of Army; 8. Major Roberts, VC, Dep. Qr. Master Genl of Army'. Group named as: 'P.D.P., Tim [the dog], V.E.D.P.'. Group named as: 'SM Pearse, SM Payne, Inspr Muniandi, Dy SP's Sukumaran, Raghavan, Sayid Hussain, Thomas, Inspr Palaniappan, SM Freitor, Dy SP Krishnamurthi, DS Ebenezer, Spitteler, DIG Colebrook, Mrs Wright, S.W.W. Wright, DSP Kandaswami, Dy SP Manikkam, Padmanabma Ayyar'. Group named as follows: '[Standing] Capt Bulkely (Scots Guards) ADC; Surg Lt Col C. Crooke Lawless (Coldstream Guards); Lady Eileen Elliot; Mrs Crooke-Lawless; Daddy [J.R. Dunlop Smith]; Lady Violet Elliot; Major Adam (Scots Guards) Military Secy; Major Fielding, DGO (Coldstream Guards) ADC. [Seated] Lady Ruby Elliot; The Viceroy; Lady Minto. [Sitting on ground] Capt Francis Scott (Grenadier Guards) ADC; Capt Lambert, ADC'. Group named as follows: '[Standing] Ress Major Abdul Aziz, ADC; Capt Hon A. Strutt, ADC; Lord F. Scott, ADC; Capt Bulkeley, ADC; Major Fielding, ADC; Capt Lambert, ADC; Capt Earl of Rocksavage, ADC; Capt Campbell-Ross, ADC; Sub Major Madho Singh Rana, ADC. [Seated] Major Adam, Mil Secy; Lady Eileen Elliot; HE the Viceroy; HE Lady Minto; Daddy [J.R. Dunlop Smith]; Lady Ruby Elliot; Surg Lt Col Crooke-Lawless'. Group named as follows: 'G. Cornwallis West; M. Guest; GNC [Curzon]; Earl of Crewe; Duke of Devonshire; Lord A. Lennox; Earl of Essex; Earl of Warwick; Lady G. Curzon; Countess of Essex; Sir E. Cassel; Countess of Warwick; HRH the Prince of Wales; Lady Randolph Churchill; Duchess of Devonshire; Grenfell; Lady M. Greville'. Group named as follows: 'Mari; Iyan; Stephens (clerk); Karim; 1st Coachman; 2nd [Coachman]; Mauran; Capt Portal; Farrier Brown'. Group named as follows: 'Viscount Villiers; Lady J. Wombwell; Earl of Jersey; Earl of Camperdown; Lady J. Villiers; Capt Vandeleur; Lady Wimborne; Hon G. Curzon, MP; Countess of Jersey; Sir D.M. Wallace; Hon Mrs Curzon; Lady M. Villiers; Hon R. Villiers; Hon R. Guest; Lady B. Villiers; Miss Wombwell; Col Chermside; Hon Mrs D. Leigh'. Group named as follows (including later annotations): 'Self [Captain Portal]; Lt M.A. Fremantle; Lt R.J. Longfield; E. Conran Smith; Surgeon Major D.P. Johnstone; Cicely [Goschen, and dog]; His Ex; Her Ex; Charlotte'. Group named below print, includes J.R. Dunlop Smith. Group named in a letterpress caption: '[Back Row] Capt H.N. Holden; Capt T.H. Harker; Capt W.W. Muir; Capt A.C. Charrington; Major Eustace Crawley; Capt R.G. Jelf; Sirdar Madho Singh Rana; Sirdar Abdul Karim Khan; Capt A.A. Tod; Capt J.E. Gibbs; Capt J. Mackenzie. [Middle Row] Col Victor Brooke; Col W.R. Crooke-Lawless; Capt F. St J. Atkinson; Miss Johnstone; Lady Muriel Paget; Miss K. Jones; Miss Dunlop Smith; Mrs J. Mackenzie; Miss Smith; Miss Howard; Miss N. Dunlop Smith; Capt Lord F. Scott; Capt B. D. Fisher; Sir A.R. Paget. [Front Row] Mrs Crooke-Lawless; Countess of Antrim; Capt Obeid-ulla Khan; Lady Violet Crawley; The Viceroy [Lord Minto]; Her Excellency; Maharaja Sir Pertab Singh; Lady Eileen Elliot; Col Sir J.R. Dunlop Smith'. Group named in a letterpress caption: '[Standing] Sirdar Abdul Karim Khan; Capt R.G. Jelf; Capt J. Mackenzie; Sirdar Madho Singh Rana; Capt A.A. Tod; Capt W.W. Muir; Capt F. St J. Atkinson; Capt A.C. Charington; Capt H.N. Holden; Capt T.H. Harker; Col W.R. Crooke-Lawless. [Seated] Capt J.E. Gibbs; Col Victor Brooke; The Viceroy; Col Sir J.R. Dunlop Smith; Capt Lord F. Scott'. Group named in a letterpress caption: 'Ali Raza; Mungul Singh; Chaudri; Juggernath; Ram Sarung; Rijju; Sekunder Ali; Imamuddin; Shunker; Rangbir; Ranja Singh; Chaudri; Jowalla; Mansur Ali (Duftri); Kadim; Ram Pershad; Gholam Nubby; Shuratan; Abbas; Shudersen; Sher Ali'. Group named in a letterpress caption: 'Back row from left to right - Captain Holmes; Mr F. Lucas; General Birdwood; Sir Havelock Charles; General Stanton; Captain Maclachlan; Major Money; General Mercer; General Kearlly; Major Stockley; Major Graeme; Maj Lord C. Fitzmaurice; Hon J. Fortescue; Maj Hon W. Cadogan; Captain Hogg. Middle row - Viscount Annaly; Mr Jacomb Hood; Duke of Teck; Sir J. Dunlop Smith; Genl Sir E. Barrow; Sir H. McMahon; Maharaja Sindia; The King-Emperor; Maharaja of Bikaner; Sir C. Cust; Hon Sir Derek Keppel; Sir E. Henry; Cap Godfrey-Faussett; Major C. Wigram; Genl Sir R. Grimston. Front row - Lord Stamfordham; Sir J. Hewett; Countess of Shaftesbury; Maharaja Sir Pertab Singh; Duchess of Devonshire; The Queen-Empress; Marquess of Crewe; Hon Venetia Baring; Earl of Durham; Genl Sir H. Smith-Dorrien; Earl of Shaftesbury'. Group named in a letterpress caption: 'Maibub (Bhisti); Imam Khan (Kitmagar); Dheru (Sweeper); Pudmah (Jampani); Juggoo (Jampani); Ali Buksh (Kitmagar); Hingoo (Mesalchi); Juno (Jampani); Sadagru (Jampani); Mungul Singh (Chuprassi); Dingu (Cook's mate); Rup Chand (Cook); Sadu (Jampani); Juno (Mate of rickshaw); Sadu (Jampani); Nanku (Bearer); Mahommed Din (Dherzi); Gholam Nubby (Night Chuprassi); Kadim (Chuprassi); Eli Buksh; Ram Pershad (Chuprassi); Badami (Auyah); Kupuru (Jhampani); Badal (Syce); Kodai (Syce); Durgu (Jhampani)'. Duplicate at Photo 355/10 (5). Group named in an accompanying manuscript key: 'Names reading from the left. Top row Kr Sultan Nimbalkar (Kolhapur); Lr Zorawar Singh (Bhavnagar); Kr Keshri Singh (Laliad); Sh. Madho Rao Kadam (Gwalior); Sirdar Harkarain Singh (Thal); Kr Gambir Singh (Vala); Kr Dajiraj (Jamnagar); Sh. Imtiaz[?] Rasul Khan (Jehangirabad); Khusru Jung (Hyderebad); Lr Aga Murtaza Khan (Bombay); Thakur Dalpat Singh of Rohat; Thakur Narpat Singh of Rajpura; Raja Haider Zaman Khan (Chief of the Ghakkas); Kr Sivai Singh (Jamnagar); Rais Jung (Hyderabad). 2nd row Sergt Major Chapman; Lr Khan Mohd Akbar Khan (Hoti Mardan); Kr Prakram Singh (Rajpipla); Maharaj Akhai Singh (Jodhpore); Sahibzada Haji Khan (Bahawalpur); Rana Jodha Jung Bhdr (Allahabad); Sirdar Antar Singh (Bungha); Maharaj Kumar Vijay Singh of Rajpipla; Chief of Manawadar; Nawab of Savanur; Aba Sahib Ramchanderao (Kolhapur); Kr Naher Singh (Baria); Kr Hira Singh (Panna); Syed Gulam Hazratji (Gwalior); Kr Jorawar Singh (Lathi); Mir Gulam Raza Khan of Khairpur. 3rd row Sh. Gulam Jilam of Wai; Kr Bharat Singh (Ratlam); Sahibzada Taley Mohd Khan of Palanpur; Rajah of Baria; HH Nawab of Jaora; HH Rajah of Ratlam; Capt A.B. Skinner, Adjt; Maj Gen HH Sir Pratap Singh, Hon Commdt; HE the Viceroy; Major R.O'B. Taylor, Commdt; HH Maharajah of Kishengarh; HH Maharajrana of Dholpur; Thakur Sahib of Rajkote; Lr Thakur Dip Singh (Asst Adjt); Rajah Pertab Singh of Kama. Bottom row Rais Yar Jung (Hyderabad); Nana Sahib Gopalrao (Kolhapur); Lr Amar Singh (Kanota); Lr Pirthi Singh (Kotah); Lr Bala Sahib Dafli (Jath); Lr Aga Cassim Shah (Bombay)'. Group of 14th Sikhs, with European officers and wives. The caption is taken from the duplicate at Photo 938/5 (40), which supplies a number of identifications of sitters, as follows: (Front row): Mrs Lee, Mrs Carter, Mrs Simpson, Mrs Hall, Mrs Selwyn, Mrs Battye, (standing behind): Captain Richardson (14th Sikhs), Captain Earle (14th Sikhs), Mr Hutchinson (Royal Artillery), Major Selwyn (12th Bengal Cavalry), Major Hall (12th Bengal Cavalry), Captain Battye (IMS), Captain Carter (14th Sikhs), Colonel Carleton (12th Bengal Cavalry), Colonel King Hall (Munsters), Colonel Simpson (Royal Artillery), Captain Forte (PI), Mr Fraser (Royal Artillery).[Printing-out paper, 281x206mm]. Group of 14th Sikhs and 12th Bengal Cavalry, with European officers and wives, with pasted slip supplying identifications, as follows: (Front row): Mrs Lee, Mrs Carter, Mrs Simpson, Mrs Hall, Mrs Selwyn, Mrs Battye, (standing behind): Captain Richardson (14th Sikhs), Captain Earle (14th Sikhs), Mr Hutchinson (Royal Artillery), Major Selwyn (12th Bengal Cavalry), Major Hall (12th Bengal Cavalry), Captain Battye (IMS), Captain Carter (14th Sikhs), Colonel Carleton (12th Bengal Cavalry), Colonel King Hall (Munsters), Colonel Simpson (Royal Artillery), Captain Forte (PI), Mr Fraser (Royal Artillery). Duplicate at Photo 938/3 (70).[Printing-out paper, 281x208mm]. Group of 17 men. all unnamed. Group of ADC's with Irene Curzon and dogs. Group of adults and children. Group of adults and children posed outside a marquee. The presence of a baby and minister suggests the occasion may have been a baptism. Group of Agency staff: Bailey, Hogg, (?)Mather, Steen. Group of armed escort with Naib Mustafa Khan Rashidi. Group of armed militiamen seated on slope of hill. Group of bearers posed with British officer. 'Now the regiment is relieved of all its sick by Field Hospitals, quite independent of corps, leaving the regiment with just sufficient material to treat urgent cases. It consists of two pairs of 'Pittarahs,' carried by a Bhanghy Badar, and containing medical comforts, such as stimulants and easily prepared foods, - the pony or mule carries a pair of field panniers, in which are a large number of drugs and appliances. A 'Field Medical Companion', carried across the shoulders, contains first dressing, stimulants, and things likely to be needed in the firing line. At the back may be seen the ambulance stretcher, or, in Indian parlance, 'Dandy'. The above forms the usual establishment with a Native Regiment.' Group of British and Arab officials standing in a row, all named. Group of British officers sitting round a table. Lieut-Colonel John Bean is sitting on the extreme left and Captain C.M. Mercer is sitting third from left. Standing on the extreme left is Lieut Daniel Mocatta and sitting in the centre on the windowsill is Colonel H.N. Miller. Group of brothers and sisters? Group of Buddhist monks posed at the base of a shrine. Group of camels with Stein and his dog 'Dash III' in centre. Incorrectly dated 19 August in Stein's negative notebook. (I.A. Map 2, C2). Group of chaplains posed round a table: Charles White, John Sharkey, Isaac Lewin, Henry Smith, William Cowley and C.T. Toussaint. Group of children. Group of children at the party drinking tea.[Gelatin silver print, 112x78mm]. Group of children in fancy dress in front of Nedou's Hotel. There are in addition on this page four small snapshots of Patricia Ranken dressed as a fairy.[Silver printing-out paper, 166x108mm]. Group of children in patterned robes and hats. Group of children playing on swings in garden. This page of the album also contains six small snapshots of Patricia Ranken, taken in 1902-03 and credited variously to Mrs Maclean and Mme Pi�rre Gu�rard.[Silver printing-out paper, 204x154mm]. Group of children with mothers and servants gathered on the verandah of the Ranken's house at Sialkot. Colonel Ranken stands at the right of the group.[Silver printing-out paper, 213x295mm]. Group of Colonel and Mrs Harvey, their children Henry and Eileen and uniformed servants posed in front of the verandah of their bungalow at Sabathu. Eileen Harvey is seated on the lap of her ayah. Group of constables with 'Sub Inspr M. Ramaswami; Middleton - DSP ousted; L. von G.[Colebrook's dog]; DIG [Colebrook] ousted'. Group of constables with European officers S.M. Maxwell, Colebrook and Sgt Bowie. Signalling equipment is arranges in front of the group. Group of divers posed with equipment.[Printing-out paper, 312x253mm]. Group of eight Addiscombe cadets. Group of eight Pathans. Probably a Charles Shepherd or Shepherd & Robertson photograph. Duplicate at Photo 752/12 (8). Group of eight uniformed officers, six of whom can be identified: Back row Unknown, Lieut John Watts, Captain Lancelot Machell; Front row Unknown, Colonel Robert Patton, Brigadier Showers, Dr John Murray and Dr Thomas Lacy. Group of eleven Indian officers sitting on steps.[Albumen print, 215x164mm]. Group of engineers and others posed on the line in front of a wagon. Annotations in the negative identify the figures as follows: Dr E.H. Hunt, Medical Officer (see Mss Eur F222); L.H. Sewell; C.H.A. Newman; Major A.F. Hosken; R.S.J. Mitchell; H.W. Jamieson; F.M. B. Rosenthal.[Silver printing-out paper, 140x83mm]. Group of engineers and their wives. Group of European, Chinese and Tibetan officials. Group of European and Asian students in formal wear. Group of European and Indian guests. Group of European and Indian officers, named as follows: 'Back Row Mahadeo Prasad. 3rd Row K. Md. Akram Khan; A.R.Bambawala; R.D. Blandy; G.B. Pulleyne; O.B.F. Sewell; D.A. Smyth; Md. Akram Khan. 2nd Row H.L. Randall; M.F. Wren; C.C. Chitham; F.C. Coventry; T. English; W.H. Fry; F.H.G. Taylor; E.F. Neilson; B.C. Taylor; R.L. Johnston. Seated T. Latham; D.G. Orchard; R. MacGill; H.T. Spence, DIG; F.C. Crawford, DIG; Sir Charles Cleveland, CIE, CSI, ICS; F.S.A. Slocock, ICS, IG; A.C. Hankin, CIE, CSI, IG of Hyderabad; C.M.B. Seagrim, DIG; K.W. Deighton; H.W. Merrick; J.H. McNeale; J.L. Fagan'. Group of European and Indian officers of the 3rd Sikh Infantry. This is probably an 1863 group, but without the Second in Command, Captain B.R. Chambers, whose portrait is at Print 49. The known officers are the Commander, Colonel Robert Renny (centre), Lieutenant P.W. Smith (sitting right) and Surgeon E.O. Tandy (sitting 2nd from right). The four remaining European officers cannot be positively identified but are almost certainly from the following list of men who served in the regiment in 1863: Captain R.O.H. Forbes and Lieutenants P.C. Rynd, J.S. Oliphant, F.T. Bainbridge, J.B. Smith, A.J.D. Hawes, H.F. Woodcock, W.B. Aislabie and J. Cook.[Albumen print, signed 'Shepherd & Robertson Photo.' in the negative, 272x192mm]. Group of European and Indian women with Mrs Campbell. Group of European man and two women eating a picnic from a hamper at the roadside. Group of European men, all named in an accompanying key: '1. [Name erased]; 2. Major Wriford, Retired List; 3. Major Rawlins, Staff Corps; 4. Dr Perreau, RA; 5. Lieutenant Coddington, RA; 6. J. Hennessy Esquire, Survey Department; 7. Lieutenant Davis, RA; 8. A.C. Barnard Esquire, CS; 9. Lt Leet, 13th; 10. Captain Fowke, 54th; 11. Lieutenant Chichester, RHA; 12. Colonel Campbell, 48th; 13. Lieutenant Riley, RA; 14. Capt Dunbar, SC; 15. Lieutenant Adamson; 16. Colonel E.H. Maxwell, 88th. 17. Lieutenant Hamilton, RA; 18. Capt Clay, Bombay SC; 19. Ross Esquire, CE; 20. R. Manderson Esquire, CS; 21. Lieutenant Edwards, 54th. 22. Lieutenant Thuillier, RE; 23. Lieutenant Robertson, 88th; 24. Lieutenant Bernard, RA; 25. Captain Webster; 26. Captain Shiffner, 54th; 27. The Club Baboo'. Group of European men, women and children sitting on a hill in a forest clearing. Colonel C.A. Sim is sitting near the centre of the group.[Albumen print, 226x176mm]. Group of European men. Former pupils of Cheltenham College. Group of European men and women posed beside a river with Indian servants. A pencilled note beneath the print identifies one of the men as 'C.E.S.' and one of the women as 'E.S.' (presumably Major and Mrs C.E. Sawyer).[Albumen print, signed 'Townshend Phot.' in the negative, 277x212mm]. Group of European men and women posed beside a tent. Some of the men are also in Print 21 and presumably 'Dumtour' is a location near Kohat. Dr H.B. Buckle (portrait at Print 70) is sitting at the front in the centre.[Albumen print, 198x144mm]. Group of European men and women posed outside a bungalow. Capt J.H.E. Reid is sitting on the ground on the left in front of Lieut F.F. Colvin of the 9th Lancers. Group of European missionaries with Indian students. Named as follows: '[Back Row] Yakub; Elahi Bakhsh (Dinapore); Syad Shah (Pesh.); [Unidentified]; Qasim Khan; Ameeruddin (d.75); Sohun Lal; Jelaluddin. [Middle Row] R.C.; Mr T.V. French; Mr J.R. Wade. [Front Row] [Unidentified]; Mr Gordon; Yousuf, Delhi, d.75; Nuruddin (Pesh); Sadif Masik[?], ord. Umr. Nov 75; [Unidentified]; Andrias, P. Dadan [?], d.76'. Group of European officers (in civilian dress), including Colonel C.P. Keyes, Dr E.O. Tandy, Lieut J.C. Stewart, Captain B.R. Chambers, Colonel J.L. Vaughan, Major T.E. Hughes, Major D. Mocatta, Lieut G.B. Crispin and Mr. Young (CS).[Albumen print, 209x162mm]. Group of European officers sitting outside the Mess. Group of European officers stationed at Kohat, posed in front of the verandah of Keyes' house (see print 20). FitzHugh (centre left) appears in the 1863 group at Print 21, Colonel Sam Browne is standing at the back of the group and in front of him sits Colonel A.T. Wilde.[Albumen print, 204x154mm]. Group of European officials and their wives with two Indian officials (local chiefs?). Archibald Corrie Macnabb is sitting on the ground in the centre. He was in Ferozepore from 13th November 1912 to 25th March 1913. Group of European police officers: 'Kirkbridge, Spencer-Cox, Colebrook, Godson, Fitchett, Howson'. Poor quality print. Group of Europeans and Baluchis of the Mekran Levies posed in front of the RAF biplane.[Gelatin silver print, 274x211mm]. Group of Europeans and Indians sitting on a low wall. Charles Stotherd is standing behind and others are identified as: 'T. Rup Singhji, T. Bahadur Singhji, Showers, Lady Jacob [and] T. Makand Singhji'. Group of Europeans and Indians standing behind a dead boar. 'The Count' who is attributed with the preceding three prints, is standing on the right of the group. Group of Europeans and Indians standing behind a dead boar. The following are named, from left: 'Brierly, LaTouche, T. Sali, LaTouche, CES'. Group of Europeans and unidentified Indians, location unknown. Group of Europeans standing in front of the target. John Murray is standing third from right, his wife sitting on the right. Group of European women, including Mrs Storrs-Fox, by a pool. Group of family, colleagues, staff and servants outside a bungalow. Group of five Abors under military guard. The murder of Noel Williamson, Assistant Political Officer at Sadiya, was the original reason for the military campaign against the Abors. 'During a halt here [Pasighat] six prisoners were tried who were accused of taking a leading part in Mr Williamson's murder. Five were found guilty and one was acquitted' (Official Account of the Abor Expedition 1911-1912 (Simla, 1913), p. 67). Group of five Europeans, including Frederick and Irma Bailey, probably in the garden of the Gangtok Residency. Group of five Europeans (including Murray) outside a house. Henry Wadehouse Dashwood was Register of the Sadr Diwani and Nizamat Adalat, NWP. Small faded print. Group of five Europeans seated on the verandah steps of a house, probably the Mong Nai Residency. Scott is seated in the centre, Roger T. Darwin top left, A.H. Hildebrand top right, G.H. Barnard bottom left, W.E. Muntz bottom right. Reproduced in Lady G.E. Mitton, 'Scott of the Shan Hills' (London, 1936), facing p. 130, there captioned 'Scott, with his beloved pipe, on the steps of the newly built post at Mone.'[Albumen print, 176x115mm]. Group of five figures, unidentified apart from Doris Skrine at left, seated on ground at a picnic.[Sepia-toned print, 202x144mm]. Group of five figures (four Indians, one Shan). The two figures on the right also appear in print 68, which was clearly taken on the same occasion.[Gelatin silver print, 164x114mm]. Group of five Gurkhas, dressed in heavy coats and fur hats. Group of five men and one woman, posed in a garden.[Albumen print, 242x190mm]. Group of five men of the Black Watch in full uniform. This photograph has been attributed to C.C. Taylor (see J.P. Losty's Clarence Comyn Taylor (1830-79): The first photographer in Udaipur and Nepal, in History of photography, Vol 16, No 4, Winter 1992, pp318-335.) as it appears in this album beside another print attributed to him and he was also at one time an interpreter for the regiment. Group of five men standing in front of a tent at Phari. The are identified as: Fitzgerald, Campbell, Fraser, D. Fraser, Steen. Campbell holds a camera and it is possible he was the photographer of prints 31a-f. Group of five servants standing in front of Holy Trinity Church. Group of five unidentified officers standing in a row. Group of four, posed in front of doorway probably in the old part of the Trade Agency. The sitters are identified as Steen, Maller, Bailey and Hogg. A professional quality portrait. Group of four British army officers standing next to a truck. Group of four despondent women seated among pots of flowers. A good study of European dress.[Albumen print, 215x164mm]. Group of four Europeans seated on steps in front of verandah of house. Frederick and Irma Bailey are two of the sitters. The other two are Ogilvy (seated in front) and Nevill (on left). Identifications taken from print 120, taken on the same occasion. This photograph was probably taken by the man identified as Alexander in print 120, since he is present in that photograph, but not in this. Group of four figures seated in front of a wall in the Agency garden. They are identified as a Chinese (Tibetan?) doctor, the Chinese Amban Chang-Yin-Tang ('Mr Chang'), Henderson (Chinese Customs) and Mr Gow (Chang's subordinate at Gyantse). For details of Bailey's dealings with Gow, see Arthur Swinson, 'Beyond the Frontiers' (London, 1971), p. 51. Poor quality print.Bayley's official diary for 8 November records that 'Mr Chang, accompanied by Mr Henderson, Mr Gow, his interpreter, and Mr Chuan, his doctor, came to lunch with me today. Mr Gow asked me if I could tell him the cost of the telegraph line from Phari here, as the Chinese Government propose to extend the line to Lhasa.' Group of four Indian and one European officer of the Shan Levy. Print in very faded condition.[Albumen print, 70x100mm]. Group of four lamas.[Gelatin silver print, 142x92mm]. Group of four men, two seated on garden seat, two standing behind. No identifications supplied.[Albumen print, 240x194mm]. Group of four men. The figure second from the left appears to be a European in Central Asian dress. A young Burmese man stands behind him, with an (?)Indian man in Burmese dress on the right, holding an umbrella. The figure on the left is Indian in appearance.[Albumen print, 255x204mm]. Group of four men of the King's Own Scottish Borderers. The three men on the left appear in Print 44 where they are named: Captain James Henry Erskine Reid, Lieut Reynall Hamilton Bayley Taylor and Captain Leonard Gordon. Group of four men on horseback, with polo sticks. Group of four mounted lancers. Caption notes read: 'This Corps of Silladar Horse was raised in 1799, and organised for Imperial Service in 1892. The ranks contain Brahmins, Rajputs, Mahrattas and Muhammadans, chiefly the descendants of the original troopers, - the flower of Tipu's army - who joined the corps in 1799. The Regiment has an excellent record of service under General Wellesley in the early Mahratta war; during the disaffection of the Company's troops at Chittaldroog and Seringapatam, 1809; under General Doveton, 1814; inthe war with Holkar 1817; at Kittoor 1824; and in 1857-58 earned the Mutiny Medal and share of prize money for Shorapore.' Group of four officers, seated in front of the wooden stockade. The sitters are identified as Dr Cornelius, Bethell, Bally, Bailey. Group of four officers posed in front of the same bungalow as seen in print 24. Sitters are identified as follows: A.S. Koe, F. Hemphill, J.H.E. Reid, C.M. Stephenson. Group of four of the Maharaja of Alwar's troops, seated on camels with their firearms.[Albumen print, oval image, 120x95mm]. Group of four polo players on their ponies.[Albumen print, 292x210mm]. Group of four puppies. Group of four Royal Engineers lieutenants: Arthur Kyle Haslett (d. 1880), Charles Bowen, Robert John Bond, James Fellowes. They all entered the Royal Engineers in 1858.[Albumen print, 122x132mm]. Group of four Royal Engineers officers (one figure unidentified): Robert Young Armstrong (d. 1894), Johnstone (probably George William Johnson (d. 1865)), Christopher Josiah Russell.[Albumen print, 125x134mm]. Group of fourteen officers. Group of four telegraphists in front of tents in the camp at Khamba Dzong. The man in charge was Mr McMahon. Group of four Tibetan children seated in garden. Group of four Tibetan men and boy standing on a hillside. Gyamtso (see also prints 36 and 45), the headman at Mipi, stands second from left; the monk Gegen Takpo (see print 46) is in the centre and the boy Ola (see print 48) stands on the right. Group of four types of Chin recruit.[Gelatin silver print, 135x78mm]. Group of four women and a child, seated on rugs. Group of girls in white dresses posed around a maypole, with Bunting Dane in the centre as May Queen and R. Tupper (?) as page. Bunting Dane has identified this as a view of Shimla, but the classical mansion in the background looks much more like a Calcutta building.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Group of Governor of Madras, Lord Hobart, family and staff gathered in front of Government House, Ootacamund. The sitters are identified in pencil beneath the print as follows: Capt H. Hobart; Mrs H. Hobart; A. Awdry; Mrs Loch; Capt Willoughby; Lord Hobartl; Lady Hobart; Mrs Awdry; Mr Loch. Group of Gurkha Military Police with four British officers, identified as follows: Gibert Bailey, R.S.H. [Robert S. Hutchinson], F.H. [Frederick Halliday], M.D. [Michael Dundas], Gorey Gurung, Sangram Singh Gurung. Photographed in front of the mess at Lunglei.[Gelatin silver print (copy print), 142x103mm]. Group of Gurkha military police with Lushais. Halliday stands in the centre of the group.[Gelatin silver print (copy print), 143x102mm]. Group of household servants, posed in front of the vernadah of a house, probably at Wuntho, where H. S. Guinness, an engineer on the Mu Valley State Railway, was based. Possibly the same house seen in print 40. Group of household servants. Group of house servants. Group of hunters and shikaris standing round a dead tiger, with Lieut-Colonel James S. Forbes standing right of centre. The tiger is the one shot by General Hunter (seen in Print 62) who is probably the man standing second from left. Group of Indian and European officials. The senior figures are named as: 'K.S. Nazir Hussain, Civ. Surgeon; Agha Ali Raza Khan, S.P.; A.C.M [A.C. Macnabb], D.S.; Diwan Tek Chand, D.S.; E.R. Anderson; Major W.W. Whitburn, Dt Eng.; E.A. Penhearow[?]'. Group of Indian domestic servants, all named in an accompanying key: '1. Mendhoo Bhistee (Water-carrier); 2. Gowra-Daee (Wet-nurse); 3. Ramdyal-Syce (Groom); 4. Akburkhan Chokidar (Watchman); 5. Ramchurn-Moorgeewalla (Fowlman); 6. Bundun-Syce (Groom); 7. Mukkah-Classee (Tent-pitcher); 8. Mahomed-Buksh-Khansama (Butler); 9. Gusseetah-Dhobi (Washerman); 10. Abdoollah-Chuprassee (Messenger); 11. Bhola-Syce (Groom); 12. Buhadoorkhan-Khidmutgar (Table attendent); 13. Gohur-Mussalchee (Scullion); 14. Chittun Grasscutter; 15. Wuzeer-Khan-Boowurchee (Cook); 16. Hingooa-Malee (Gardiner)[sic]; 17. Kootub-ooddeen-Bearer (Valet); 18. Oorie-Grasscutter; 19. Fuzl-ooddeen-Chuprassie (Messenger); 20. Rajoo-Ayah (Lady's maid); 21. Panch-Kowree-Classie (Tent-pitcher); 22. Chingun-Grasscutter; 23. Punchum-Classie (Tent-pitcher)'. Group of Indian Military Police, with Lieutenant Edward Thuillier Gastrell, Bengal Staff Corps, seated in the centre. Group of Indian officers. Caption continues: 'This group was taken before I joined the Regt. I have unfortunately forgotten some of the names. They were all with the Regt in the Mutiny and you must have known them all either as Havildars or as Native[?] officers. Terra Scind was Sub Major when the group was taken in 1863'. Group of Indian policemen. Group of Indians at a bridge building site. Group of Indian women and children posed in front of a small brick bungalow. With two European women and several Indian men holding what are probably Bibles. Group of Khan of Terai's retainers. Group of Kusho Lungshar and the four youths in front of a bungalow, location and date unknown, possibly Darjeeling: 'During his stay in Darjeeling [1910-12] I had advised the Dalai Lama to send some Tibetan boys to England for education, for it seemed to me that not only would they be useful to Tibet on their return, but also they would in various ways, provided they were treated well in England, help to draw closer the bonds between the two countries. Four lads of the upper classes had been sent; Rugby and other places had helped to give them such educstion as their few years' stay in England allowed...' ('Tibet Past and Present', pp. 162-63). Group of ladies in fancy dress posed in front of unidentified building. Group of lifeboatmen posed on the beach at Riva.[Printing-out paper, 312x245mm]. Group of Malabar Police (?) with E.H. Colebrook in the centre. Group of men, women and children, posed outside a bungalow. Dated 1862 and with identifications beneath print as follows: '[Standing] Captain Jenkins, Captain Millar. [Sitting] Captain Parsons HM 101st, Mrs Jenkins, Capt Watson, Mrs Millar, Capt Younghusband'. John William Younghusband (1823-1907), Inspector-General of Police, Punjab, was the father of the more celebrated Francis Younghusband. The Younghusband's children are also included in this photograph: Emmie (at left), Ethel (blurred, between knees of Captain Watson). The child standing with John Younghusband is possibly his son George John (identified as 'Bhaia', presumably a nickname, in Mss Eur F197/37(32a)).For another copy of this print, see Mss Eur F197/37 (32a), where the photograph is described as 'Group taken by Major Keyes in front of Fir Hill, the Miller's house at Murree'. The date is probably 1863 rather than 1862, since the Younghusbands did not move to Murree until the spring of 1863.[Albumen print, 234x186mm]. Group of men, women and children.[Gelatin silver print, 133x84mm]. Group of men, women and children posed in front of the entrance to Fir Hill, the house of Henry Miller, Punjab Police. Flowerpots are arranged in tiers behind the group. The sitters are identified as follows: (standing behind): Colonel Henry Miller and [blank, but identified as Captain Jenkins in print 32b]; (seated, from right): John [Younghusband] and Bhaia, Mrs Miller, Major Watson holding his watch to keep Ethel [child standing between his knees] still, Mrs Jenkins, Emmie, [blank: but identified as Captain Needham Thompson Parson, 101st Foot].Ethel and Emmie were the Younghusband's two daughters. The other child, 'Bhaia', is unknown, but is possibly their son George.For another copy of this print, in better condition and with all figures identified apart from the children, see Photo 782 (52). That album contains a number of very fine examples of Keyes' work.[Albumen print, 228x160mm]. Group of men and women, two holding tennis racquets, posed in a garden. Group of men and women (several of the men are in Indian cavalry uniforms) sitting on the ground in front of a carriage. Seven individuals are named as: 'Mrs Irwin, Mrs Macnabb, J.W.M [James William Macnabb], Miss Brandreth, Mrs Chesney, Mrs Keighley [and] Ashton Brandreth'. A.M. Brandreth (PWD) was Principal of Thomason College, 1879-91. Group of men and women engaged in a game of croquet.[Albumen print, 67x91mm]. Group of men and women on the steps of the Residency at Bolarum? Named sitters are: 'Arthur Saunders, Lizzie, MS [Saunders wife?], Chin Chin & Mrs Ross, Anna'. Group of men and women photographed on the steps leading up to a house. Probably photographed during a social event of some kind. Indian servants standing in background. Group of men and women posed in front of a tent ar Dhulia (modern Dhule. Group of men and women posed in garden. Poor quality. Group of men and women posed with their bicyles. Group of men and women standing in a row with pikes. 'Boileau, Douglas, Turner, Patterson [and] C. Sconce' are identified. Group of men named as: 'J. Wallan, T. Clevering, B. English, G. Hunter, E. Tate, P. Rowcastle, S. Robson, E. Forrest, T. Goldsmith, J. Cooper'. Group of men standing in a mountainous country (?Brahui Range).[Gelatin silver print, 217x161mm]. Group of men with their horses posed for the photographer. Group of mission members and servants.[Silver printing-out paper, 136x81mm]. Group of monks in monastery at Sera. Group of mounted huntsmen and hounds. Faded print. Group of mounted officers on parade in stable paddock. Muspratt's position is marked by a cross on the back of the print.[Silver printing-out paper, 234x182mm]. Group of mounted troopers on the parade ground. Print in poorish condition, with overall spotting.[Albumen print, 380x304mm]. Group of musicians seated on the ground: 'The Tibetan Government entertained us to lunch in our garden at the Dekyi Lingka...Until the Cabinet have given the official Government Lunch no one, not even the Regent, can invite the Political Officer to a party...We were entertained before and during the meal by an orchestra of stringed instruments and a flute, and by dancing girls. The band was led by a blind man who is so popular with the Lhasa officials that he enjoys the exceptional privilege of smoking, even in the presence of the Cabinet...' (Lhasa Mission Diary, 18 September 1936).[Gelatin silver print, 142x95mm]. Group of Mutiny Veterans, posed with standard and placard reading '2nd Sikh Irregular Cav. 1857. Salaams and best wishes. 12th Cavalry 1907.' The 2nd Sikh Irregular Cavalry later became Probyn's Horse.[Printing-out paper, 138x88mm]. Group of naval firemen with equipment wagon.[Printing-out paper, 305x245mm]. Group of nine adults and children informally posed on a verandah. Caption on reverse reads: 'Verandah'. Group of nine officers. Group of nine P.T. instructors (one holding a small child) sitting behind an arrangement of Indian clubs, barbells, swords and fencing masks. Group of nuns on monastery steps. Group of nurses with European officer standing in a corner arch of the Diwan-i-Khas, with the domes of the Moti Masjid in the background. Group of officers, civilians and wives posed in front of Captain Alexander Ansdell Gordon's bungalow at Kamptee (Kamthi). The sitters are identified beneath the print as follows: l. to r.: Capt Hooper, Capt Morant, Mrs Hooper, Capt Yates, Mr Nevill, Mrs Gordon, Capt Gordon, Capt Hope, Mrs Hope, Mrs Tyndall, Mr Tyndall, Col Dyneley. Group of officers, in uniform, posed in front of the verandah of an unidentified house, probably at Kasauli. Sitters identified beneath print as follows: Capt Symonds SSO; Major Browne V.C. DAAG for M.; Capt Graham ADC; Sergt Major Scott; Major Campbell, C. Magiste.; Col. Prinsep, Comdg at Cawnpore; Lt Genl Perkins; Major Mitton Davie DAAG; S. Capt Lane Staff Surgn; Col Harvey AAG. Group of officers, unidentified apart from James Archibald Douglas (back row, left), taken at the same location as print 2, and with some of the same sitters. A pencilled note on the reverse of the mount reads: 'A.D.W. & Bde. Staff? J.A. Douglas seated on R.T.'[Albumen print, 262x196mm]. Group of officers. Accompanying notes read: 'Officers sitting left to right (officer with cross belt) Major Love, 8 Gurkha Rifles (first officer to be killed in 1941 against the Japanese); Naik C[?] Pau Chin; Major A.C. Moore, 4/8 Punjab Regt; Subedar Major Chandu Bahadur Gurang; Lt Day, Gloucesters'. A copy negative accompanies the print. Group of officers and civilians with E.H. Colebrook, including: 'Dy S.P. Browne, Raju Velu Mudaliar, Krishna Swami, Gopala Rao [and] Maxwell'. Group of officers drinking beer. Group of officers in uniform, named below the print: '[Back row standing] Maj Elliott, RAMC, San'y Officer; Capt Griffith, ADC; Maj Westropp, Asst I.G. S&T; Genl Brunker, Brig Gen RA; [Risaldar Major Lal Khan, ADC]; Col [Standbridge], Ordnance; Maj Foster, Asst Mil'y Sec'y; Capt Finch, Farms[?]; Col Bird, C.M.B.; Capt Sandys, AG, ADC. [Middle row sitting] Vet Col Hazleton, A.V.O.; Col Anderson, D.J.A.G.; Col Lucas, M Genl S&T; Genl Greenfield, D.A.G.; Lt Genl Sir R. Low, L.G.C.; Col Proudfoot, A.G.G.; Col Saunders, AMS, act'g P.M.O.; Capt Holbrooke, D.A.A.G.; Col Bromfield, A.Q.M.G.. [Front row sitting on ground] J.W.W.; Capt Short, RFA, DAAG, RA; Capt Dundas, Signalling'. Group of officers of the King's Own Scottish Borderers, including Capt G.N. Mayne (standing on the far left), Capt J.H.E. Reid (sitting on the left), Capt L. Gordon (sitting next to Reid) and Lieut R.H.B. Taylor (standing behind Gordon). Group of officers posed in front of building. Print in poorish condition, with overall spotting.[Albumen print, 373x307mm]. Group of officers posed in front of building. Print in poorish condition, with overall spotting.[Albumen print, 375x304mm]. Group of officers posed in front of tent.[Albumen print, 292x215mm]. Group of officers posed in front of the little catonment church at Kohat.[Albumen print, 281x216mm]. Group of officers posed on and beside a transport elephant. Duplicate of Photo 938/3 ().[Printing-out paper, 294x213mm]. Group of officers posed on steps. Duplicate at Print 167 where they are all named. J.R. Dunlop Smith is standing second from the right. Group of officers posed with the day's bag of birds.[Silver printing-out paper, 121x96mm]. Group of officers seated on the ground eating a meal. They are identified beneath the print as: Harvey Kelly, Hodgson, Cooke, Patterson, Col. Mander, Peterson, Leonard IMS, Bell. Group of officials. R.G. Davies seated on the Governor's right. Group of officials posed with the Viceroy Lord Mayo in the garden of Colonel Pollock's house. This is a variant of no. 1 in the series of views 'Illustrative of Lord Mayo's late Visit to Peshawur' advertised in Baker and Burke's 1872 catalogue, and there titled, 'Group of Lord Mayo and Napier, with Staff, taken in Col. Pollock's Compound.' The sitters can be identified as follows: (sitting, left to right): Sir Richard Pollock, Commissioner, Peshawar; General Sam Browne, commanding at Peshawar; Lord Mayo, Viceroy; General William Templer Hughes, commanding Frontier Force; Lord Napier of Magdala, Commander-in-Chief, India; Sir Henry Norman, Military Member of the Supreme Council; Colonel Owen Tudor Burne, Private Secretary to Lord Mayo; Colonel Frederick Augustus Thesiger, later Lord Chelmsford; (standing, left to right): Mr Thomas Henry Thornton, Secretary to the Punjab Government; Mr Charles Umpherston Aitchison, Secretary to Government of India, later Chief Commissioner, Burma; Mr Edward Roden Bourke, Lord Mayo's brother and his Military Secretary; Colonel Martin Andrew Dillon, Military Secretary to Lord Napier; Colonel Peter Stark Lumsden, Quarter master General to the Army; Major Pierre Louis Napoleon Cavagnari, Assistant Commissioner in charge of the Kohat Division.For other variants of this print, showing the same sitters, but in a slightly different pose see Photo 132 (62), Photo 752/12 (26), Mss Eur F197/37 (42).[Albumen print]. Group of officials posed with the Viceroy Lord Mayo in the garden of Colonel Pollock's house. This is no. 1 in the series of views 'Illustrative of Lord Mayo's late Visit to Peshawur' advertised in Baker and Burke's 1872 catalogue, and there titled, 'Group of Lord Mayo and Napier, with Staff, taken in Col. Pollock's Compound.' The following sitters are identified in notes on the page border and from other sources: (sitting, left to right): Sir Richard Pollock, Commissioner, Peshawar; General Sam Browne, commanding at Peshawar; Lord Mayo, Viceroy; General William Templer Hughes, commanding Frontier Force; Lord Napier of Magdala, Commander-in-Chief, India; Sir Henry Norman, Military Member of the Supreme Council; Colonel Owen Tudor Burne, Private Secretary to Lord Mayo; Colonel Frederick Augustus Thesiger, later Lord Chelmsford; (standing, left to right): Mr Thomas Henry Thornton, Secretary to the Punjab Government; Mr Charles Umpherston Aitchison, Secretary to Government of India, later Chief Commissioner, Burma; Mr Edward Roden Bourke, Lord Mayo's brother and his Military Secretary; Colonel Martin Andrew Dillon, Military Secretary to Lord Napier; Colonel Peter Stark Lumsden, Quarter master General to the Army; Major Pierre Louis Napoleon Cavagnari, Assistant Commissioner in charge of the Kohat Division.For other copies of this print, see Photo 132 (62), Photo 752/12 (26); Photo 50/1 (69) is a variant, taken on the same occasion.[Albumen print, 272x189mm]. Group of officials posed with the Viceroy Lord Mayo in the garden of Colonel Pollock's house. This is no. 1 in the series of views 'Illustrative of Lord Mayo's late Visit to Peshawur' advertised in Baker and Burke's 1872 catalogue, and there titled, 'Group of Lord Mayo and Napier, with Staff, taken in Col. Pollock's Compound.' The sitters can be identified as follows: (sitting, left to right): Sir Richard Pollock, Commissioner, Peshawar; General Sam Browne, commanding at Peshawar; Lord Mayo, Viceroy; General William Templer Hughes, commanding Frontier Force; Lord Napier of Magdala, Commander-in-Chief, India; Sir Henry Norman, Military Member of the Supreme Council; Colonel Owen Tudor Burne, Private Secretary to Lord Mayo; Colonel Frederick Augustus Thesiger, later Lord Chelmsford; (standing, left to right): Mr Thomas Henry Thornton, Secretary to the Punjab Government; Mr Charles Umpherston Aitchison, Secretary to Government of India, later Chief Commissioner, Burma; Mr Edward Roden Bourke, Lord Mayo's brother and his Military Secretary; Colonel Martin Andrew Dillon, Military Secretary to Lord Napier; Colonel Peter Stark Lumsden, Quarter master General to the Army; Major Pierre Louis Napoleon Cavagnari, Assistant Commissioner in charge of the Kohat Division.For other copies of this print, see Photo 132 (62), Mss Eur F197/37 (42); Photo 50/1 (69) is a variant, taken on the same occasion.[Albumen print]. Group of officials posed with the Viceroy Lord Mayo in the garden of Colonel Pollock's house. This is no. 1 in the series of views 'Illustrative of Lord Mayo's late Visit to Peshawur' advertised in Baker and Burke's 1872 catalogue, and there titled, 'Group of Lord Mayo and Napier, with Staff, taken in Col. Pollock's Compound.' The sitters can be identified as follows (some of the identifications supplied with this print are incorrect): (sitting, left to right): Sir Richard Pollock, Commissioner, Peshawar; General Sam Browne, commanding at Peshawar; Lord Mayo, Viceroy; General William Templer Hughes, commanding Frontier Force; Lord Napier of Magdala, Commander-in-Chief, India; Sir Henry Norman, Military Member of the Supreme Council; Colonel Owen Tudor Burne, Private Secretary to Lord Mayo; Colonel Frederick Augustus Thesiger, later Lord Chelmsford; (standing, left to right): Mr Thomas Henry Thornton, Secretary to the Punjab Government; Mr Charles Umpherston Aitchison, Secretary to Government of India, later Chief Commissioner, Burma; Mr Edward Roden Bourke, Lord Mayo's brother and his Military Secretary; Colonel Martin Andrew Dillon, Military Secretary to Lord Napier; Colonel Peter Stark Lumsden, Quarter master General to the Army; Major Pierre Louis Napoleon Cavagnari, Assistant Commissioner in charge of the Kohat Division.For other copies of this print, see Photo 752/12 (26), Mss Eur F197/37 (42); Photo 50/1 (69) is a variant, taken on the same occasion. Group of porters in the Tista Valley. 'Naspati the Sirdar' is identified on the mount as the figure on the right. Group of porters on mountain road.[Silver printing-out paper, 120x97mm]. Group of portrait of Edward Prince of Wales with army officers: 'Besides its royal Colonel, those familiar with this illustrious regiment will recognise the portraits of Major Lord R. Kerr, Captains Bulkeley, Combe, Hartopp, etc. In fact, all the likenesses in this very successful group are unmistakeable.'[Albumen print, 136x97mm]. Group of pupils named as: 'J.S. Mill, W.C. Greig, J.R. Dunlop-Smith, J.M. Whyte, W.W. Kerr, S.H. Capper, C. Stuart, G. Brock, J. McLaren'. Group of pupils seated on ground in front of school buildings. Group of Rajput Thakurs seated on the ground smoking in front of a bullock cart.[Albumen print, 135x98mm]. Group of Royal West Kents' troops in fancy dress. Group of schoolchildren at Wixenford, Lord Curzon's preparatory school. Alfred Nathaniel and George Nathaniel Curzon are seated 1st and 2nd from left respectively. Group of schoolchildren posed in front of school building.[Printing-out paper, 114x88mm]. Group of Scouts with football trophy. The British officers seated in the centre are Captain P.B. Janson and Capt R.K. Garrow. Group of Scouts with sports trophies. The British officers seated in the centre are Captain P.B. Janson and Capt R.K. Garrow. Group of servants posed in front of porch of Residency. Group of servants posed in garden.[Sepia toned print, 135x77mm]. Group of seven European officers, four of whom appear in the 1864 group at Print 24. The only two men that can be positively identified are Colonel C.P. Keyes and Lieutenant Keen, seated in the centre and on the right respectively. In the back row, the officers standing second from left and on the right are also in Print 24 and are probably either Lieutenants Pitcher, Unwin or Oliphant. By the end of 1865 Dr J.E. Tuson had replaced Dr Buckle as the Surgeon and he could be the man sitting on the left (his uniform is different from the other six men), and Lieut A. Vallings had replaced Lieut Young. This leaves one new officer, not listed, who has replaced one of the officers seen in the 1864 group. A possible line-up is therefore: Colonel Keyes, Lieut Keen, Dr Tuson, Lieut Vallings, two from Lieutenants Pitcher, Unwin and Oliphant, and one unnamed Lieutenant.[Albumen print, 214x173mm]. Group of seven European officers of the 1st Punjab Infantry. Sitters in the front row are, from left, Colonel C.P. Keyes, Dr H.B. Buckle and Lieut F.J. Keen. The four officers standing behind are probably those listed in the official army list of 1864, namely, Lieut H.W. Pitcher, Lieut H.R. Young, Lieut W.H. Unwin and Lieut T.T. Oliphant. See also the 1865 group at Print 26 and accompanying notes.[Albumen print, 216x165mm]. Group of seven garlanded figures, in front of a wall of thatch. Group of seven surgeons at Agra, from left: Dr Lacy, Dr Richmond, Dr Murray, Dr Storey, Dr La Presle, Dr Cullen and Dr Whittal. Group of seven unidentified officers. Group of Shans watching the sports, with the Sawbwas seated beneath umbrellas.[Albumen print, 176x120mm]. Group of Sher Ali Khan (centre), Henry Walter Bellew (seated left), Col Crawford Trotter Chamberlain (seated right), and Sir Frederick Pollock (standing). Portrait taken at Fort Jamrud after the Viceroy's durbar at Ambala. Duplicate at Photo 27 (24) (qv). Group of Sher Ali Khan (left), Col Crawford Trotter Chamberlain (centre), and Sir Frederick Pollock (right). Portrait taken at Fort Jamrud after the Viceroy's durbar at Ambala. Same group with Dr Bellew (listed in Baker & Burke's catalogue) at Photo 50/1 (70). Group of shikaris posed with camel. Group of shikaris sitting behing an arrangement of dead antelope. Group of shooting team. half-tone reproduction. Group of Sir Hugh Barnes (in morning suit) with two uniformed ADCs, standing on the steps, probably of Government House, Maymyo. Group of six cadets (one figure unidentified) of Bengal and Madras Engineers. Probably photographed at Addiscombe.[Albumen print, 171x126mm]. Group of six Europeans sitting under a palm. Named as: 'Walton, RE, Hensley, Mrs Hensley, Graster, Miss King, Young Hensley'. Group of six men, three women, a child and dog, outside a bungalow. Group of six men. Group of six men standing in the garden, Sir Firoz Khan Noon (High Commissioner for India in London) at the left. Samuel Stewart stands third from right. Group of six officers, posed in front of stone wall. The sitters are identified as follows: (Back row, standing): Trumminger (telegraphist), Maclean (33rd), Bethel (8th Gurkhas); (seated): F.M. Bailey, Davis IMS (presumably Gerard Irvine Davys, IMS 1902-30), (?)Sammut Essex (Ekka Corps). Group of six priests. Group of six residency staff, posed in front of verandah.[Albumen print, 96x76mm]. Group of six servants. Group of six soldiers. Print in poorish condition, with overall spotting.[Albumen print, 306x374mm]. Group of six soldiers. Print in poorish condition, with overall spotting.[Albumen print, 309x372mm]. Group of six soldiers. Print in poorish condition, with overall spotting.[Albumen print, 309x375mm]. Group of six women and two men seated in a row on a bench beneath a tree. Hugh Barnes is third from the right. Mounted print. Group of soldiers posed on deck. Prints 37-52 were probably taken during the two trips Bailey made to France in March 1915, on the first occasion taking remounts across and and on the second a detachment of troops. Group of soldiers posed with rabbits and other game they have shot. Group of staff in fancy dress. Group of standard bearer and four guards of the First Mobile Artillery Brigade on the parade ground.[Albumen print, 303x374mm]. Group of state officials. Group of Stein and assistants. Innermost Asia, vol. 2, fig. 332: 'Group of my party at Idikut-shahri, Turfan. From left to right: Ibrahim Beg; R.B. Lal Singh; self with 'Dash III'; Musa Akhun; Afraz-gul Khan; Jasvant Singh. Ruin of Khitai-madrasah in background.' (I.A. Map 23, C3). Group of students outside the College. Group of syces, ponies and dogs outside J.W. Watson's bungalow. The man standing on the right is presumably Hutchinson. Group of the four figures posed in front of the temple gateway, with Turki figures in left foreground.[Glatin silver print, 298x227mm]. Group of the Viceroy's secretarial staff, seated in front of the porte-coch�re of Peterhof, the Viceroy's residence. A portrait evidently taken on the same occasion as print 128. No identifications supplied, but Charles Aitchison is the central figure at the back of the group. Group of the Viceroy Lord Dufferin, family and some members of staff. Lady Dufferin is seated to the left of the Viceroy, Lady Helen Blackwood to the right. Lord William Beresford stands at the left of the group, with Major Harry Cooper behind him; The Viceroy's Private Secretary, Sir Donald Mackenzie Wallace, stands second from the right. Lord Herbrand Russell sits at the right. Group of three Buddhist monks. 'A 'Sadawjee' bishop, or royal teacher, is one who helps to manage the entire affairs of the Buddhist Church. There are at present eight, who live in or near Mandalay. The central figure in the above group resides at the Incomparable Pagoda, he is said to be a very learned man, and to have been held in great reverence by the late king...On his right is the Abbot of the Monastery, whilst on the left is an ordinary monk holding a fan...' Group of three children, posed in the garden of an unidentified house, possibly at Amguri. Stereoscopic print.[Silver printing-out paper, 152x75mm]. Group of three children. 'Any stranger visiting the Dekyi Linka this morning might well have imagined either that the Pied Piper had just passed by or we were starting a school. Actually we were having a Children's Party; and by lunch time about seventy of the sons and daughters of the Lhasa officials had arrived. They came on horse-back, either independently preceded and followed by red-hatted servants, or sharing the saddle with a nurse or groom.' (Lhasa Mission Diary, 29 December 1936).[Gelatin silver print, 78x116mm]. Group of three children of the Mysore royal family, posed with unidentified woman.[Gelatin silver print, 109x158mm]. Group of three dancing girls. 'To their music danced three 'girls', one about 50, the other two quite young. The dancing consisted simply of stamping on a plank in time to the music, varied by an occasional gesture with the hands and arms (which were hidden, out of respect, by long sleeves) and by occasional bursts of shrill singing. Not really very exciting for us and, to judge by the solemn expression of the girls, not very exhilarating for them. The dancers were of so low an order of society that they could not dare to look openly at the Political Officer nor at the Great Powers of the Earth, as the Shap�s are called.' (Lhasa Mission Diary, 18 September 1936). See also note at print 179.[Gelatin silver print, 142x93mm]. Group of three European female missionaries with Indian women (all with European names). Named as follows: 'Elizabeth, Miss Hasell, Christiana, Susan, Mrs Elmslie, Mrs Dale, Maggie, Miss Wanton, Jane'. Group of three Europeans.[Gelatin silver print, 92x65mm]. Group of three Europeans and the Gurkha caretaker. Group of three gardeners. Group of three Indein officials, photographed by Scott at Taungdo. See also prints 73 and 80.[Albumen print, 115x174mm]. Group of three men from the larger group in Print 8. Original caption reads: 'Mohmund Arbabs'. This could be No 1389 in the Bourne & Shepherd catalogue: 'Group of Pathans from the Peshawur Valley'. Group of three men posed beside the equatorial camera. Pencilled note dated 25 May 1911 in Murphy's hand reads: 'This was taken last year after we photographed Halley's Comet. We were on the job for 2 months, and only managed to get one good negative. The camera is on the roof of the Presidency College. Taylor & myself [Murphy] used to be there at all hours of the night & on several occasions from 2 to 5 a.m. The clouds would not give us a chance to expose. Messrs Taylor, Francis & self at the camera.' Group of three men posed in front of a decorative hanging. Taken on the same occasion as prints 80 and 82 (see note on location and dating at print 82).[Albumen print, 118x183mm]. Group of three men sitting on chairs with a fourth standing behind. Group of three Nepalese soldiers posed in front of a tree: 'These are Gorkhalis belonging to a regular regiment, of the same class as the men exhibited in No. 115, but in the 'fatigue' dress, or, it might be said, in civil costume.'[Carbon print, 96x137mm]. Group of three officers in uniform, with two women, the one on the left being Laura Buckingham. Possibly taken during the Jorhat Races of March 1904.[Gelatin silver print, 228x282mm]. Group of three officials. Group of three women. Group of three young bridesmaids. Group of Tibetan dignitaries. Group of Tibetan men and women posed beneath a tree.[Carbon print, 135x96mm]. Group of two men and a woman. Group of Viceroy's Council gathered round table. The sitters are: (secretaries, standing behind, left to right): Edward Harbourd Lushington, Financial Secretary; Colonel (later Sir) Henry Norman, Military Secretary; Colonel (later Sir) Henry Durand, Foreign Secretary; Mr (later Sir) Edward Bayley, Home Secretary; Colonel (later Sir) Richard Strachey, Public Works Secretary. (Members of Council, seated, left to right): George Noble Taylor; Sir Charles Trevelyan; Sir Hugh Henry Rose (Lord Strathnairn); Sir John Lawrence (Lord Lawrence); Sir Robert Napier (Lord Napier of Magdala); Mr (later Sir) Henry James Sumner Maine; Mr (later Sir) Willaim Grey.For variants of this group, evidently taken on the same occasion, see: Photo 25 (41), Photo 42 (192), Photo 782 (13), Photo 797 (77), Mss Eur G38/2 (LXIIIb). Dates between 1864 and 1866 are given on various prints. Photo 797 (77) gives the location as Simla. Group of Viceroy's staff in fancy dress. Sir Donald Mackenzie Wallace (dressed as an Arab) is seated centre; to Wallace's left stands Lord William Beresford (Chelsea Pensioner), and directly behind him Lord Herbrand Russell. Major Harry Cooper stands second from right and Captain Leonard Gordon second from left. Group of women, posed near a tank with brass waterpots. Group of women and children posed in the garden of the large house seen in the background. Four children are seated on the ground with croquet mallets and balls around them. Behind them, two women are seated in jampans.[Albumen print, 91x108mm]. Group of young novice monks, posed in front of a banana plantation, probably in the Sagaing Division. A faded print.[Printing-out paper, 144x106mm]. Group of young pupils posed in a field. Group of Zamindars posed with Sir Lancelot and Lady Graham and R.G. Davies standing in centre. Photograph taken at start of function or just prior to the Governor's departure. Group on an elephant. Group on hillside, probably shepherds. Group on horseback posed for photographer. The head of the Yangtang family was a landed proprietor, magistrate and member of the Sikkim Council. Group on horseback posed on road.[Gelatin printing-out paper, 285x203mm]. Group on the steps of the front entrance to the station. Group on the steps outside the House: 'R. Macleod; H. Chaplin, MP; Hon C. Hope; Countess of Selkirk; A. James; Earl of Suffolk; Lady E. Hope; Earl of Hopetoun; Countess of Hopetoun; Lady D. Hope; Sir St. Northcote, Bt, MP; Marquis of Waterford; Lord Lamington; Lady Lamington; Hon V. Cochrane Baillie; R. Dundas; Hon G.N. Curzon; Sir G. Montgomery, Bt; W. Phillipps; Hon W. Cochrane Baillie'. Group on verandah of Chinese house. The figures are indentified as follows: Rupen, Macready, Wu, Bailey, Ma, Kennedy, Kenchen. For another portrait taken on the same occasion, see Mss Eur F157/464 (229). Grou portrait of Chingpaw men involved in the attack on A.W. Porter's column on 26 March, during which Captain West and two others were killed (see prints 143-145). The men are identified on the back of the print.[Gelatin silver print, 131x81mm]. Grou portrait with identifying key. The following individuals are identified: Mrs Keane; Brickman (S.D.O.); G.H. Hunt (E.E.); C.E. Jefferis (S.E.); Capt. Keane R.E. (E.E.); McPhail (Surveyor); Mrs Hunt; Mrs Jefferis; Mrs McPhail; Mrs Boddington; Capt. Boddington R.E. (S.D.O.); Shaw (Tunnel Foreman); Abdul Ghafoor; Assa Singh (Time Keeper); Nek Ram (Stenographer); Amir Shah (Overseer); Nur Din (Assistant Mechanical Foreman); Jagat Ram; Haus Raj Bhambi (Sub-Assistant Surgeon); Man Chand Jain (Overseer); Trilochan Singh Godhi (Chief Mechanical and Electrical Foreman); Faiz Ali (Foreman); Mehi Singh (Foreman); Bahauddin (Tunnel Overseer); Amai Singh Bhalla (Accountant); Gian Singh (Foreman, Concrete); Attai Singh (Foreman, Workshop); Kaitai Singh (Foreman, Mechanical); Fazl Karim (Head Draughtsman); Abdul Ghani Khan (Head Clerk); David (Overseer, Laboratory); Beli Ram (Assistant Foreman, Mechanical); Girdhari Lal (Foreman, Crushers); Gholam Sarwar (Overseer, Survey). Group osed on locomotive, probably celebrating the first the train to cross the bridge.[Albumen print, 228x280mm]. Group out hunting markhor sitting on steep hillside. Group outside a bungalow. Four men identified as 'Arbuthnot, Joseph, District Judge [and] Col Brereton' are sitting on an elephant, Ian Meredith is standing holding the elephant's trunk and servants surround the group. Group outside a bungalow. Named as: 'Douglas Straight (Police); Major Wallenstein; Major Hammond (Devons); Mr Barrow (Railway); Mr Harry Feltham-Smith (Chief of Police); Mr Markham (High Court Judge at Meerut); General Martyn; Mrs H.H. Roden; Mr Hardy; V. Richards; Mrs H. Smith'. Group outside Barnes Court. Sitters are not named although the group includes: Walter Roper Lawrence, C.L. Tupper and James Robert Dunlop Smith. Group outside the station building, including: 'Contractor, Lalji Cutchee; B. Hira Lal, SO; B. Ram ditta Mal, Asst Engineer; D.M. Cookson; C.E. Stotherd; Bhagwanji Kutchee, Contractor'. Group photograph, evidently taken on the same occasion as print 52. Group photograph, in uniform and with rifles. J.A. Scroggie standing at left, J.P. Morton at right. Sub-Inspector in back row is Shahab Din. Group photograph, signed on the reverse by the sitters. The following names can be deciphered: G.H. Garratt, - Scott, F.-. Deighton (Capt), P.H. Stubbs (Capt). Group photograph, with Bailey in the centre of a group of Tibetan dignitaries. Four figures are identified: Parkang, Tsarong, Mon Topa, Nga Po. Group photograph, with figures identified in key beneath print as follows: Jeffreys, Burney [J. Birney], Montgomerie [Captain T.G.], Marindin, Heaviside, Strahan G., Savi, Cotton, Holdich, Rogers, Larminie, Boughey, Strahan C., Riddell, Ross, Hill, Medley, Peile. Group photograph, with golf clubs and cups arranged in foreground. Modern caption suggests Poona (Pune) as a location, but there does not appear to be any evidence for this. Group photograph, with J.A. Scroggie seated 5th from left. Several figures in the group are garlanded, and the accompanying note states 'The group may consist of zaildars'. Group photograph, with Sir Lancelot Graham and R.G. Davies seated in centre, and rows of birds laid out on thye ground in front of them. Group photograph, with sitters arranged around a table. Figures are identified in key beneath print as follows: Boughey, Trotter, Ross, Engledene, Rogers, Brownlow, Moncrieff, Conway Gordon, Heaviside, Walker [Major J.J.], Thuillier, Skipwith, Medley, Carter, Strahan, Clayton, Baseri. The photograph is unsigned but was probably taken, like print 191, by Clarke. Group photograph. Group photographed in front of Colonel Keye's house at Abbottabad: 'The Revd. Mr Hardy, Chaplain [Domestic Chaplain to Bishop Cotton]; Mrs Watson; The Bishop of Calcutta [Rt. Revd. George Edward Lynch Cotton]; Col Keyes; Major Watson' and two unidentified children.[Albumen print, 238x178mm] Group photographed in the garden of Mr Barstow's house, Murree. Shaw and Scully are seated on carpets in the centre in front of a Kurghiz yurt or tent, wearing Turkick costume. Their Guides escort stands behind, while servants, guides and other retainers are arranged in two lines on either side of the main figures, as if in durbar. A hawk stands on a perch in the foreground, beside the antlers of a stag and the horns of a mountain sheep. This elaborate tableau is mentioned in a note beside the print: 'Robert left Yarkund on his return journey 29th July 1875 and for the last time we welcomed him back to Murree 18th October. Bishop Milman, with his chaplain Mr Jacobb, was then staying with us, so Robert took up his quarters in Mr Barstow's house, then empty. The photograph opposite shows the party after their return from what I called Robert's trip to Yarkund. The old Bishop laughed and said 'No one but a sister would call such a journey a trip. Robert thus describes the Kirghiz 'Yourt' or tent which he had pitched in the garden...In front, is his fine eagle, of which he brought down 3, each carried by a man on horseback on his arm with a support from the saddle. The hoprns are those of the Bara singha, which is supposed to get a new [illegible] every year up to 12 (bara). The front horns are of the ovis poli.'[Albumen print, spotted, 274x205mm]. Group photograph of army officers and NCOs from various regiments. Sitters identified beneath print as follows: Bombr. Knapp R.A.; Corpl. Owen 16th Lancers; Corpl. Harmon, 16th Lcrs.; Cpl. Wilson R.I.; Cpl.Gilson R. Irish; Cpl. Tanner R.M. Fus.; Sgt. Karslake R.W. Fus.; Sgt. Manning W.Y.; Pte. Bosonnet W. York; Capt. Symonds S.S.O.; Col. Harvey AAG; Major Davies DAAG; Major Browne VC, DAAG for M.; Sergt Major Scott RA; Pte Preston 16th Lancers; Corpl McAuliffe H.L. Inf. Group photograph of beaters posed in front of tent. Group photograph of engineers posed beside a steamroller, with the Chief Engineer Reginald Trevor-Jones in the centre. Group photograph of Eton pupils. Curzon is seated in the centre of the front row and his younger brother Alfred Nathaniel Curzon at the right of the same row. Group photograph of families. Group photograph of female missionaries (European and Indian). Group photograph of guests posed in front of hotel. Group photograph of police. Group photograph of police officers, in uniform. The two English officers are identified as J.A. Scroggie and W.N.P. Jenkin. Group photograph of the Viceroy and Lady Reading seated with staff. Lord Reading in viceregal robes, staff in uniform. Sir Geoffrey de Montmorency seated at left. Probably taken at a function at around the time of Lord Reading's departure from India. Duplicate at Photo 10/26 (1033). Group photograph of the Viceroy and Vicereine, the Marquis and Marchioness of Reading, with Lieutenant-Colonel William John Keen, Officiating Chief Commissioner N.W.F.P., and respective staffs and principals guests, in the garden of Government House, Peshawar. The following sitters are identified on the back of the print: Lord Reading, Lady Reading, Colonel William John Keen, Mrs Keen, Miss Keen, Sir Geoffrey Fitzharvey de Montmorency, Sydney Frederick Muspratt, Rosamonde Muspratt, Colonel Potter, Mrs Lock, Mrs Fraser, Colonel Lock, Colonel P. Green.[252x194mm]. Group photograph seated on a verandah in front of a wooden screen carved in Chinese style. Group photograph similar to prints 52 and 54, but with Colonel Wang rather than Tao seated in the centre of the group. Group photograph taken in front of a tent at the Delhi Durbar. Caption and dating taken from duplicate at Photo 355/6 (32), which also supplies the following identifications: Mr Campbell; Miss Diana Russell; C.V. Aitchison; Miss Mildred Chapman; Mrs Biddulph; Mrs de Montmorency; James Dunlop Smith; Miss Flora Russell; Marion Aitchison; Mr Biddulph; Mrs Mitchell; Mr Mitchell; Mrs Bingley; Mrs Bolster; Minnie Smith; Lady Arthur Russell; Mrs Crome; Major Bingley. Group photograph with a garlanded Davies seated in centre. Group portrait, accompanied by the following cutting from an unidentified newspaper, headed 'Behold the Group!' [handwritten]: 'We have seen a fine group of the Chief Commissioner and party, taken whilst inspecting the Photograph Department of St Peter's Institute. Joachim, the lad in charge of the Department, ought to congratulate himself on his brilliant success. In the group we notice Mr and Mrs Aitcheson [sic], and Messrs. Burgess, and Austin, as well as Colonel Munro, Mr Bridges, Captain Wells, Mr Robinson, and other gentlemen who happened to be present at the time.' Group portrait, all named: 'Barton (Secretary), Mrs Wilcock, Wilcock (Under Secretary), Mrs Barton, Self, Margaret, Dr Dunning (Agency Surgeon)'. Group portrait, all the sitters in fancy dress, from left: 'Mrs Finch, Miss E. Low, Gl Sir Robert Low, [unidentified man], J.W.W., Miss Low, Mrs Anderson'. Group portrait, arranged in front of a decorative textile backdrop, with retainers holders ceremonial umbrellas over the sitters. Group portrait, Bailey and Stewart standing at back, with Badu La and Chinese guests seated. Group portrait, Curzon seated in centre. Group portrait, gathered in a room (in the old India Office?) in front of a portrait of George V. The key on the back of the print identifies the figures as follows: [seated] Risaldar Muhamad Ali Khan 34th P.H. [Punjab Horse]; Risaldar Major Hamir Singh 34th P.H.; A. Ezra Esq; Lieut J.A. Nash, 2nd L.; Risaldar Bachant Singh 20th D.H.; [stading] 1st Class Agent Byramjee Hormusji S. & T.; 1st Class Agent Nazimuddin S. & T.; Jemadar Yusuf Ali Khan 20th D.H.; Ressaidar Anti Ram 6th Cav.; Rai Sahib Hukam Chand Mity. Accts. Dept.; Jemadar Mir Alam Khan 18th L.; Jemedar Nur Muhamad 38th C.I.H. Group portrait, identifications as for preceding print. Group portrait, in civilian clothes. Figures identified beneath print as follows: Dr Daly, Lieut Hanna, Col Hughes, Lieut Anderson, Lieut Millett.[Albumen print]. Group portrait, in costume. The following contemporary pencilled identifications are supplied: Mrs Bivar, Mrs MacGowan, Buck, MacFall (scene painter), Mrs Peyton, Read RA, Wilkinson (prompter), Belli-Bivar, Saulez, Churchil. Group portrait, in lounge suits, taken during hunting expedition with Sir Frank Sly. Duplicate at Photo 10/27 (358), where the following identifications are supplied: (standing) Capt Webb, Capt Mostyn Owen, Col Carey-Evans, Capt Burton; (seated) Sir Geoffrey de Montmorency, Sir Frank Sly, Lord Reading, --, Col Worgan. Group portrait, in the open air. Group portrait, in uniform, of military officers. Identifications are supplied for only three figures: Brook, Kirkwood and Barnes. Group portrait, in uniform, of military officers at Mian Mir Cantonment, Lahore. Identifications are supplied for only seven figures: Down, Harford, Beadon, Cotton, Pellen(?), Knox, Dickson. Group portrait, in uniform, taken on board the Clive, probably at Rangoon during Lord Elgin's visit. Captain Beaumont in centre of group. Group portrait, in uniform, with key beneath print identifying figures as follows: T. Carter; C. Mant; P. Raikes; J. Browne; L. Gordon; C. Bayley; E. Elliot; L. Stewart; H. Lee; C. Delafosse; C. Armstrong; G. Hamilton; W. Finch; G. Borradaile; K. Cameron; G. Blackwood. Group portrait, in uniform, with key identifying figures as follows: 1. Capt Blackall; 2. Capt Bennett; 3. Dr Moorhead; 4. Capt Plummer; 5. Asst Surg Ricketts; 6. Lieut Lewis; 7. Lieut Little; 8. Dr Hale VC; 9. Capt Waller; 10. Lieut Sparks; 11; Lieut Harrison; 12. Capt Cochrane VC; 13. Lieut Collingwood; 14. Major Watson; 15. Lieut-Col Aldworth; 16. Ensign Keyser; 17. Lieut Cole; 18. Ensign Bridges; 19. Lieut Barnard; 20. Lieut Beauchamp. Corner of print signed 'A.H.B.'.[Albumen print]. Group portrait, in uniform. Figures identified beneath print as follows: Lt A.G.C. Stainforthe MC; Lt C.R.B. Knight; Lt H.E. Hoare; Capt A. Corney MBE; Lt H.S. Knocker; Lt J. Cartwright; Lt D.S. Lister MC; Lt R.B. Sandilands (Adj); Maj G.H. Plinston (General Staff); Maj-Gen T.R. Scott CB, CIE, DSO; Capt Hembrow ADC (Middlesex Yeomanry); Capt E.B. Backhouse; Capt G.F. Hamilton MC; Lt-Col W.H. Trevor DSO; Lt-Col H.B. Potter DSO; Capt N.R. Rice. Group portrait, in uniform. Probably photographed at Peshawar or Sabathu. Group portrait, in uniform. Group portrait, in uniform. Trevor-Jones seated front row at right. Group portrait, in uniform. With accompanying newspaper clipping: 'Not the least interesting event of today was the reception by the Viceroy in the large Shamiana, in the course of the afternoon, of over 100 retired officers of the Native army, who have come in by special invitation to attend the Durbar. They were a grand group of veteran soldiers, amongst them being several fine looking Sikhs, Gurkhas and Pathans. Their breasts were most of them covered with medals recording service in the wars and expeditions in which India has been engaged during the past 40 years...Sir Benjamin Bromhead, himself a brave and distinguished soldier, presented them severally to Lord Elgin, who showed the greatest interest in them and their histories...' Group portrait, in uniform and holding revolvers, probably taken in England. The sitters are identified as follows: Sgt Major Payne; Browne; Paget; Edmond; Dowding; J.L.I. Reid; Captain Pollard; Cheyne (Capt.); Liptrop. Group portrait, in uniforms. Figures identified beneath print as follows: C.R. Duggan (Chairman, Aden Settlement); Captain Edgeworth RE (ACRE); Captain Ackland (Staff Captain); Major Barron MC (OCQMG); Harold Wilberforce-Bell (Assistant Resident); Major J.C. Tate (Assistant Resident); Lt-Col Blenkinsopp (ADMS); Maj-Gen T.R. Scott CB, CIE, DSO (GOC and Resident); Major Reilly OBE (1st Assistant Resident); Major Plinston (General Staff); Captain Baldwin MC, AOC (7th Fusiliers); Major Astley Cooper OBE (ADS&T). Group portrait, location and identities unknown, apart from William Lee-Warner, standing at the very back of the group. Duplicate at Photo 2/1 (86). Group portrait, mounted on card, with letterpress key supplying identifications as follows: (1st row): S.V. Giddannavar; R.G. Davies, Collector; K.S.L. Iyengar, Excise Superintendent; (2nd row): M.A. Kittur; H.R. Karnchi; M.F. Patil; S.V. Setti; N.S. Bargi; K.R. Sortur; M.A. Shaik; G.G. Honkan; M.N. Mahishi; A. Michegan. Group portrait, mounted on card. The letterpress key beneath the print identifies the sitters as follows: (back row, standing, l. to r.): Kh. Abdus Samad Khan, Sub-Judge; M. Suleman Khan EAC; M. Khurshaidul Haq Khan, Sub-Judge; Ch. Mond Afzal EAC; S. Gurdial Singh EAC; R. Sultan Lal Husain Khan EAC; R.S.L. Jagan Nath PDSP; L. Bishan Dass, Hony Magistrate; S. Raghbir Singh, Bastani EAC; (front row, seated): L. Raj Krishen PP; S. Rafiq Ahmad, Sub-Judge; J.A. Scroggie, Police; D.P. Bhandari ICS; L. Sant Ram EAC; H.L. Phailbus EAC; D.A. Bryan ICS; Kh. Azizud Din Ahmad EAC; L. Harivansha Lal Khanna EAC; A. MacFarquhar ICS, DC; S.L. Sale ICS, SJ; R.S.L. Izzat Rai PCS, ADM. Group portrait, mounted on card. The letterpress key beneath the print identifies the sitters as follows: (back row, standing, l. to r.): M.L. Rallia Ram, BA LLB, Public Prosecutor; Lall Chand, Tehsildar; Sant Ram MA, Munsiff; A.H. Marshall, Supt. Police; J.A. Scroggie, Asst. Supdt. Police; Ghulam Mustafa BA, EAC; Kadir Baksh, Tehsildar; Devi Singh, Tehsildar; Moti Ram, Tehsildar; (front row, seated): Narain Singh, Retired EAC, Hony. Magistrate; Som Nath BSc, Sub-Judge; E.T. Bhan, Senior Sub-Judge; A.E. Martineau ICS, Session Judge; H.D. Watson MA, ICS, Dy. Commr; Ghanshyam Dass MA, LLB, EAC; Chandu Lall, Munsiff; Gokal Chand, Munsiff; Chatter Singh, Revenue Asst. Group portrait, mounted on card with typescript caption reading as follows: 'The Hon'ble Lt. Col. H.B. St John, C.I.E., C.B.E., I.A., Agent to the Governor-General Bahadur, with his secretaries Mr C.P. Skrine, I.C.S., Rai Bahadur, Dewan Gian Nath, and the Nawab Sahib Bahadur, and the Nawab Regent Bahadur, K.C.I.E., members of the Loharu Family, and State Officials just after the Darbar of presentation of the Kharita of recognition of the young Nawab to Loharu 'Mansad' on the 11th January 1927, at Loharu.'[Gelatin silver print, 293x232mm]. Group portrait, named on verso (with nicknames in the caption below the print): 'L to R. Tahsildar Razmal, Mohd Jan (APO Nor. Waz.) (son of Ahmad Jan Munshi), Mohd Azad, Tim Taylor, Peter Manson, Doc Morgan, Lowis (PA Nor. Waz.), Doc Hassett, Self [P.B. Janson], Sharifo, Ralph Venning'. Group portrait, no identifications supplied, very poor condition.[160x120mm]. Group portrait, no identifications supplied.[Silver printing-out paper, 240x182mm]. Group portrait, no identifications supplied. Group portrait, no identifications supplied. Group portrait, oval image. Group portrait, oval image. Group portrait, photographed in front of a tent, presumably at Delhi during the Delhi Durbar. Mir Kamal Khan (c.1870-1921), was Chief of Las Bela 1896-1921. Group portrait, photographed in front of the entrance porch of Government House, Nagpur. With sitters identified as follows: Sir John Shea, Mr Marten, John Portal, Vi Portal, Nat Portal, Captain Ranken, Sir Montagu Butler, Iris Mary Portal (the bride, n�e Butler), 'Buz' [Gervas Edward Portal, the bridegroom], Jean, Desmond, Lady Butler, P.S. [?Private Secretary], Rab [Richard Austen Butler], Mrs Wood, Pat, Sydney.[266x181mm]. Group portrait, photographed on terrace of Government House, Calcutta. The sitters are identified as follows (from right to left): 1. Colonel Charles Vincent Bowie; 2. Dr Anthony Beale; 3. Captain J. Hills; 4. Major (later Sir) Seymour John Blane; 5. Lewin Bentham Bowring; 6. Captain Robert Baring; 7. Sir Edward Campbell. [244x198mm]. Group portrait, posed in front of a portrait of George V (?at Buckingham Palace). Letterpress caption beneath the print identifies the sitters as follows: Risaldar Zardad Khan, IDSM, 10th Queen ictoria's Own Corps of Guides Cavalry (Frontier Force); Subadar Yar Ghulam, 4/13th Frontier Force Rifles (late 57th Wilde's Rifles); Subadar-Major Amin Gul, 2/14th Punjab Regiment (late 20th Duke of Cambridge Own Infantry) (Brownlow's); Major H.N. Prendergast, DSO, MVO (British Officer in Charge) (Queen Victoria's Own Corps of Guides; Risaldar-Major Amir Muhammad Khan, Bahadur, IDSM, Order of British India, 2nd Class, 3rd Cavalry. Group portrait, posed in front of a portrait of George V (?at Buckingham Palace). Letterpress caption beneath the print identifies the sitters as follows: Subadar-Abdul Subhan, IDSM, Queen Victoria's Own Madras Sappers and Miners; Risaldar-Muhammad Qadir Khan, 8th King George's Own Light Cavalry; Lieutenant-Colonel A.B. McPherson, MVO, 2nd Battalion, 9th Jat Regiment (Mooltan Battalion); Risaldar-Major Anno Khan, IDSM, The Poona Horse (17th Queen Victoria's Own Cavalry); Subadar-Wali Muhammad Khan, 2nd Battalion, 9th Jat Regiment (Mooltan Battalion). Group portrait, posed in front of a tent. Precise date and location unknown, but probably photographed around the time of Scott's attachment to the Mekong Commission. Group portrait, posed in front of portraits of George VI and Queen Elizabeth the Queen Mother (?at Buckingham Palace). Letterpress caption beneath the print identifies the sitters as follows: Risaldar Musaffar Khan, Sam Browne's Cavalry (12th Frontier Force); Risaldar Dharam Singh, IOM, 20th Lancers; Risaldar-Major Lall Singh, MBE, Probyn's Horse (5th King Edward VII's Own Lancers); Risaldar-Major Bahadur Sher Khan, 15th Lancers; Lieutenant-Colonel E.J.P.T. Walker, OBE, 13th Duke of Connaught's Own Lancers. Group portrait, posed on hillside. The political officer is Robert Warburton (1842-99), himself half-Afghan. See biographical note at Photo 430/2 (27). No. 57 in Burke catalogue of Afghan War views. Second copy neg at B.9065. Group portrait, posed with dead leopard. Group portrait, presumably of a contractor connected with canal work in Sindh. Group portrait, presumably taken in front of Government House, of Sir Bartle Frere, Governor of Bombay 1862-67, with members of his family and personal staff. The sitters are identified beneath the print as follows: (front row, seated, left to right): Major W. Leech [sic, for Leach], 46th Foot, ADC; Sir Bartle Frere, Lady Frere, Miss Frere; (back row, standing, left to right): Dr John Cruikshank IMS, Private Secretary; Captain Watts, Major G. Clerk, 3rd Battalion Rifle Brigade, Military Secretary; Miss C. Frere, Mr Turner.[Albumen print, 265x203mm]. Group portrait, presumably taken in the building known as the Anarkali at Batala, originally built by Sher Singh and later occupied by the Baring High School. The figures in the group are identified beneath the print as follows (forenames added): Dr Smith; Maj MacAndrew; Capt Charles Alexander Sim RE; Capt Welby Wroughton Boddam; (Sir) Robert Eyles Egerton CS; Robert Needham Cust CS; Arthur Austin Roberts CS, Commissioner; (Sir) Thomas Douglas Forsyth CS. Second copy neg at B.508.[Albumen print]. Group portrait, probably also taken at Barkai. Group portrait, probably take at Fort Jamrud, with Amir Sher Ali seated in the centre of the three British officials. This group is almost certainly the photograph listed in the 1872 Baker & Burke catalogue as no. 10 in the series of portraits of Sher Ali Khan and his retinue taken during the return from the durbar at Umballa in March 1869 at which the Amir had been received by the Viceroy Lord Mayo. Print 23 was evidently taken on the same occasion as this photograph. Henry Walter Bellew (1834-1892) of the Indian Medical Service, seated at left, acted as interpreter at the durbar; Sir Frederick Richard Pollock (1827-1899), stands behind the Amir; Colonel (later General Sir) Crawford Trotter Chamberlain (1821-1902), is seated at right. Similar portrait, with additional figures, at Photo 50/1 (43), and duplicate at Photo 50/1 (70). Group portrait, probably taken at Falam.[Gelatin silver print, 200x139mm]. Group portrait, probably taken at Fort Stedman, of members of the Anglo-Siamese Boundary Commission. The sitters are identified as follows: Colonel E. Travers, Surgeon Joseph Kinnear Close, Captain Hugh Milbourne Jackson, William John Archer, [?P.J.] Doran, Captain Francis John Pink, James George Scott, Ney Elias. A cropped version of this print, showing only the right side, is reproduced in G.E. Mitton (Lady Scott), 'Scott of the Shan Hills' (London, 1936), facing p. 164. This is probably one of the photographs referred to in Scott's diary for 5 and 6 December: 'Took two photos of the Commission in the morning. Came out fairly well at night...[6th] Commission negatives not bad one nearly very good' (OIOC Mss Eur F278/4 f. 97).[Albumen print, 229x190mm]. Group portrait, probably taken at Karachi, with identifications written in ballpoint pen on print surface. Sitters are named as follows: Samuel Arnold Collier Green, Hugh Trevor Lambrick, Joseph Maurice Sladen, Godfrey Collins, Ann Dow, Vyvyan MacLeod Ferrars, Mrs Gibson, Nancy Twiss, Raymond Evelyn Gibson, Dorothy Ridley, Mrs Ferrars, Joseph Booth, Sidney Ridley, Hugh Dow, Madge Green.[Gelatin silver print, 286x207mm]. Group portrait, probably taken at Karachi, with identifications written in ballpoint pen on print surface. The following sitters are identified: Hugh Trevor Lambrick, Arthur Sydney Vernon Acott, Pestonji Nanabhai Moos, Joseph Maurice Sladen, Sidney Ridley, John William Smyth, Hugh Dow, Robert Blair Milne, Geoffrey Arthur Thomas, Mrs Thomas, Arthur Clement Wild, Ann Dow, James Reaney Hood, Mrs Acott, Geoffrey Graham Drew.[Gelatin silver print, 286x219mm]. Group portrait, probably taken at the 1905 Taunggyi durbar. Group portrait, probably taken at Trichinopoly. The figures are identified as follows: Maj Spalding; Maj Bruce; Lieut Bond; Lieut Morris; Capt Greswell; Lieut Col Crichton; Col Betts; Lieut Nice; Capt Smith; Capt Milligan; Capt Rice; Capt Pryce; Capt Dunnell; Lieut Alston; Lieut Lloyd; Capt Keeneman. Group portrait, probably taken at Viceregal Lodge, Simla. See Photo 132 (73) for identification of sitters. Group portrait, probably taken on the same occasion as print 29. Molyneux is seated third from right.[Printing-out paper, 285x210mm]. Group portrait, seated beneath ceremonial umbrellas. Group portrait, seated on a verandah beneath ceremonial umbrellas. Group portrait, seated on chairs in a garden. Group portrait, seated on the verandah of his house. Group portrait, seated on verandah.[Albumen print, 242x193mm]. Group portrait, seated on verandah.[Gelatin silver print, 194x240mm]. Group portrait, seated outside tent with attendants. Group portrait, similar to, and taken on the same occasion as Photo 92/4 (7). See also print 34. Probably photographed at Loikaw. Group portrait, sitters identified as follows: (front row, left to right), L. Daun, Assistant Superintendent; J.M. Wright, Superintendent; Subadar Major Mota Suba; Lieutenant Colonel W.B.T. Abbey B.C.; (back row, left to right), Lieutenant R.G.B. Lawson, Assistant Commissioner; Subadar Shanker Singh; Jamadar Adjutant Man Bahadur Singh; Jamadar Quarter Master Bal Bahadur Sahi; Jamadar Hrang Ram; Jamadar Ganga Singh.[201x154mm]. Group portrait, sitters identified as follows: Capt Newmarch, Mrs Newmarch, Major Sibley, Mrs Cadell, Capt Cadell, Capt Hunt. Group portrait, taken in a garden. The print has been marked up for cropping, presumably for reproduction purposes. Frances Mary Case, sister of Robert Charles Case, married Sir Lewis Leigh Fermor in 1933. Group portrait, taken in a garden. The sitters are identified in a pencilled key beneath the print as follows: Dr Sannderson [sic, presumably Dr James Sanderson, IMS 1836-63], Miss Denison, the Governor [Sir William Thomas Denison], Capt Macleod ADC, Mr Bucks CS, Lady Denison, Capt Glover Military Secretary, Capt Ernest Villiers ADC. Group portrait, taken in front of the same building as print 8, with many of the same sitters.[Gelatin silver print, 288x207mm]. Group portrait, taken in garden at Moda. Henry Hinchcliffe stands at the right of the group. E.H. Quinn is seated on the left, H. Walker is seated second from left, E.A.F. Robertson on the right.[206x154mm]. Group portrait, taken in one of the arches running along the base of Government House, Calcutta. The sitters are identified as follows (right to left): 1. Hon. Aleck Stewart; 2. Lewin Bentham Bowring; 3. Colonel (later Lieut-General Sir) Seymour John Blane; 4. Colonel Charles Vincent Bowie; 5. Dr Anthony Beale; 6. Captain J. Hills; 7. Captain Robert Baring. [278x230mm]. Group portrait, taken on the occasion of the Deakes-Gaywood wedding. The bride, presumably a teacher at the school, is seated in the centre of the group. Group portrait, taken on the same occasion, although with figures differently arranged, as Photo 2/3 (3). Identifications from that print are as follows: (back row, l. to r.): Captain Fawkes, Dr Close, Captain Jervoise; (front row, l. to r.): Captain Ewart, Sir Philip Wodehouse, William Lee-Warner. Group portrait, the four figures squatting in front of a thatched house. Group portrait, the sitters identified as follows: Lieut L.J. Blenkinsop; Syad Sirdar Shah; Capt J.A. Nunn; Syad Mahtab Shah; Ghulam Husan Khan; Dr Amir Shah. Group portrait, the sitters identified as follows: Miss Potter; Miss Dorah Slater; Miss Rice; Miss K. Jennings; Slater; Mrs Jennings & her neice; Mr Jennings; Miss Slater; Dr Mary Gardner; Miss Hetty Jennings (who married Prof. Goodridge); R.A.Ellis. Group portrait, the sitters identified as follows: R.A. Ellis; King Vanes; Mrs Vanes; Mrs Gulliford; Miss Lamb; Dumbarton; Bichy Vanes. Group portrait, torn in four pieces but otherwise in good condition.[Sepia toned bromide print, 285x232mm]. Group portrait, very faded. The following sitters are identified: Colonel George Stewart, Colonel Francis Howell Jenkins, Colonel Robert Byng Patricia Price Campbell, Captain Arthur George Hammond, Lieutenant Adams, Captain Frederick Drummond Battye, Dr John Lewtas, Major Robert Colvin Hutchinson, Lieutenant M.C. Cooke-Collis, Lieutenant Daly, Lieutenant Henry Wentworth Hughes. A note in the margin reads 'George [George John Younghusband] joined May 1880.'[Albumen print, signed 'Burke 298' in the negative, 282x167mm]. Group portrait, with accompanying note by Butler's daughter reading: 'Wedding group - Wedding of Sirdar Mahommed Nawaz Khan of Kot Fateh Khan, Punjab. Montagu Butler's ward. M.B. was then D.C. of Campbellpur, 1918. Mahommed Nawaz (marked X) was one of the first officer cadets at Sandhurst. My father Montagu Butler is standing behind M. Nawaz. My mother has my brother Jock in sailor suit by her. My sister in front. Nanny (always the same one) stands behind mother.' Photograph possibly taken at Campbellpore.[Silver printing-out paper, 295x214mm]. Group portrait, with a garlanded Davies seated in front of staff. Group portrait, with Amir Sher Ali seated with European political officers and two unidentified Afghani sirdars. The Europeans are Surgeon Major Henry Bellew (standing at left), Col (later Sir) Frederick Pollock (seated to left of Amir), Col (later General Sir) Crawford Chamberlain (seated at right) and Col. Upperton, 16th Bengal Cavalry, (standing at right). Probably taken during the durbar at Ambala (the Amir wears the same coat as can be seen in print 47 and the sirdar at the left also appears in that print). Photographs taken at Ambala during the durbar itself are probably all by C.C. Taylor, ADC to the Viceroy at this period (see note at print 79). Group portrait, with Amir Sher Ali seated with European political officers and two unidentified Afghani sirdars. The Europeans are Surgeon Major Henry Bellew (standing at left), Col (later Sir) Frederick Pollock (seated to left of Amir), Col (later General Sir) Crawford Chamberlain (seated at right) and Col. Upperton, 16th Bengal Cavalry, (standing at right). See entry for Photo 50/1 (43) for notes. Group portrait, with Bailey seated in centre. Group portrait, with bungalow in background. Group portrait, with Captain C.L.L. Stokes seated in centre.[156x111mm]. Group portrait, with caption as above handwritten on decorative mount beneath print. A group of garlanded Europeans sits in the front row, with Indian behind. Lord Burnham is in the centre, with Clement Atlee to the right. Samuel Stewart is seated at the left of the group. Hon. E. Cadogan, seated third from left. Other figures unidentified. Group portrait, with D.A. Shirole (Indian Police), Sir Roger Lumley and R.G. Davies. Behind them stand an an unnamed group of revenue officers. Group portrait, with dead bears in foreground. Sir Montagu Butler is seated in the centre, flanked by Lady Butler and Liladhar Singh, Raja of Sakti. Other identified figures are Vincent Aubery Stewart Stow and his wife Marie Elinor, Donald Henry Charles Drake and his wife Dorothy, Hayes, D. Kaye and the Raj Kumar of Sakti, Lal Jivendranath Bahadur Singh.[Gelatin silver print. Group portrait, with figures identified as follows: Col Harris; Capt Badcock; Capt Curden; Mlle Krauth; Capt Birdwood; Capt Cox ADC; Mr Edgerley; Dr Franklin; Tara Sing ADC; Mr Cunningham; Sir E. Collen; Miss Bruce; Col Durand; Major Travers; Col Grant; Col Neville Chamberlain; Imdad Ali ADC; Capt Mayhew; Mr James; Mrs Turner; Gen Brackenbury; Mrs Chamberlain; Lord Elgin; Lady Elgin; Lord Harris; Lady E. Bruce; Lord Onslow; William Cavendish; Capt Turner; Capt B. Carr; Capt Fuller; Capt Ponsonby; Capt Warre; Capt Pollen; Capt Grimston; Capt Cavendish. Group portrait, with figures identified as follows: Mian Kesri Singh, Mian Tej Singh, Mian Nihal Singh, Mian Partap Singh, Mian Ram Singh. Group portrait, with figures identified beneath print as follows: Mr Feshwantrai, Mr Harilal, Harold and Margaret Wilberforce-Bell, Mr Benjamin, Mr Harilal. Group portrait, with figures posed against a white sheet. The sitters are identified as follows: Howell, Cannon, Ross, Wyllie, C. Curry, R. Curry. Group portrait, with guests standing on steps in front of the club. Print mounted on card, with letterpress key supplying identifications as follows: (1st row, left to right): Mr Ebrahim D. Chinoy; Lt. Col. M.R. Swinhoe, R.E.; Col. J.A. Allen; Mr Hakimuddin Taherbhoy, N.K.D.; Subedar Major Hon. Captain Taj Din, Sardar Bahadur, O.B.I., I.D.S.M.; Mr Abdul Latiff; Col. L.O. Clark, O.B.E.; Lt. Col. R.A. Bishop, R.E.; Lt. Col. Lucas, R.E.; (2nd row, left to right): Mr Nomanbhai Abdulhusain; Mr B.C. Mangalorkar; Subedar Major Jodh Singh, O.B.I.; Mulla Abdul Taiyab; Subedar Major Hon. Lt. Shah Jahan Khan, Sardar Bahadur, O.B.I.; Major Westerman; Mulla Nomanbhai Taherally, M.K.D.; Mr Ebrahim Dawoodbhai; Mr Kalimuddin A. Hussainy, N.K.D.; Mr Jivaji Hassanally; Mr Abbasbhoy Taherally; (3rd row, left to right): Mr Mohsinbhai Taherbhoy; Mr Shirajbhoy Taherbhoy; Mr Taherbhoy Mulla Tayabally; Subedar Major Hon. Captain Kirpal Singh, Sardar Bahadur O.B.I.; Capt. Sardar Khan; Lt. Pellat, I.A.; Lt. Abdul Qadir, I.E.; Subedar Major Rehmat Khan, Sardar Bahadur, O.B.I., I.O.M.; Lt. Ghulam Sarwar; Subedar Major Narsinghrao Kadam; Mr Asgarbhai Mulla Akbarally; Mr Mohamadhussain Ahmedally; Mr Saifuddin Taherbhoy; Mr Sajjadbhai Kassamally. Group portrait, with identification of sitters written on card mount as follows: (front row, left to right): Miss M. Bayley; Sir Louis Dane, Lieutenant Governor of the Punjab; Miss N. Dane; H.I.H. the Crown Prince of Germany; Lady Dane; H.E. General Graf zu Dohnd; Miss D.B. Dane; (back row, left to right): Major E.C. Bayley; Mr Ross; M.H. Young; Colonel Dick; Captain Russell; Graf --- von Finckenstein; Sir H. Stuart; Lt. von Gobelitz; Mr A. Telf; Major Steel; Dr Wegener. Group portrait, with identifications on reverse of mount as follows: (front row): ---; Mr Claud Barron; Sir Louis Dane; Ahmad Ali Khan, Nawab of Maler Kotla; Lady Dane; ---; Nellie Dane; (back row): ---; Major Bayley; ---; Jim Russell; ---. Group portrait, with identifications supplied as follows: Major C.B. Cooke, President; Captain R.C. Temple, Vice-President; Mr H.M.S. Mathews; Dr Shewan; Mr W.G. Newton; Mr E.R. Dyer; the Mandalay Myowun, CIE; Ko Aung Ba; Thute Maung Pe; Law Yan; Babu Bindraban; Count I. Calderarj. Group portrait, with identifications supplied of some sitters.[Sepia toned print, 294x194mm]. Group portrait, with identifications written in ballpoint pen on print surface. The following sitters are identified: Leslie Nanscawan Brown, John Abbott, James Studdy, Arthur Clement Wild, James Alister Pope, George Ernle Chatfield, Raymond Evelyn Gibson, Maurice Webb, Henry Davenport Baskerville, Charles Gordon Fawcett, Arthur Eric Willoughby Steward, Stephen Harris Covernton, Hugh Dow, Walter Frank Hudson, James Rea Martin.[Silver printing-out paper, 285x176mm]. Group portrait, with identifications written in ballpoint pen on print surface. The sitters are identified as follows: Alfred Daniel Guy Hore, Robert Stonehouse Broomfield, Stephen Harris Covernton, John William Smyth, Charles Hugh Blathwayt, Henry Montgomery, John Abbott, Arthur Charles Robinson, Hamid Moizudin Abdul Ali, Arthur Clement Wild, George Ernle Chatfield, Charles Blythe Critchley, Edward Millard Pratt, Raymond Evelyn Gibson, Arthur Delaval Younghusband, Charles Gordon Fawcett, Arthur Eric Willoughby Steward, Hugh Dow, Clement Ayerst Beyts, Stephen James Murphy, Walter Frank Hudson.[Silver printing-out paper, 287x203mm]. Group portrait, with key identifying sitters as follows: (back row): Lt. Macleod, 19th B.L.; Capt. Kelly, 23rd Pioneers; Lt. Maclean, 33rd Punjab Infantry; Capt. Baird, IMS; Lt. Hadow, Norfolk Regiment; (middle row): Major Wallace Dunlop, 23rd Pioneers; Col. Hogge, 23rd Pioneers; Capt. Pearson, 23rd Pioneers; (front row): Capt. Kelly IMS; Lt. Sawyer, 23rd Pioneers; Lt. Bailey, 32nd Pioneers. Group portrait, with letterpress slip supplying identifications as follows: 1st row, seated left to right: Hon. Sir A.P. Patro, Hon. Pandit Hirday Nath Kunzru, Hon Raja Charanjit Singh, Hon. R.H. Parker, Hon. Hossain Imam, Hon. Diwan Bahadur Sir K. Ramunni Menon, Hon. Sir David Devadoss, Hon. Kunwar Sir Jagdish Prasad, Hon Sir Maneckji Byramji Dadabhoy (President), Hon Rai Bahadur Lala Ramsaran Das, Hon Maharajadhiraj Sir Kameshwar Singh of Darbhanga, Hon Sir Guthrie Russell, Hon H. Dow, Hon Sir Josna Ghosal, Hon Sardar Buta Singh, Hon Sir Rahimtoola Chinoy, Hon Kumar Nripendra Narayan Sinha of Nashipur. 2nd row, standing: Rai Sahib A.K. Gupta (Assistant Secretary), Hon Shavax A. Lal, Hon Rai Bahadur Sri Narain Mahtha, Hon Sardar Bahadur Sobha Singh, Hon A. de C. Williams, Hon Shantidas Askuran, Hon C.E. Jones, Hon Rao Bahadur K. Govindachari, Hon Nawabzada Khurshid Ali Khan, Hon Rai Bahadur Satyendra Kumar Das, Hon Sirdar Nihal Singh, Hon Sirdar Saheb Sir Suleman Cassum, Haji Mitha, Hon Abdool Razak Hajee Abdool Suttar, Hon E. Conran-Smith, Hon Khan Bahadur Shams-ud-Din Haidar, Hon Raja Yuveraj Dutta Singh of Oel and Kaimarah, Hon S.N. Roy, Hon Rai Bahadur Sir Satya Charan Mukherjee, Hon J.H.S. Richardson, Hon Pandit Prakash Narain Sapru, J.S. Rogers (Marshal).[Sepia toned print, 287x226mm]. Group portrait, with Lieutent-Colonel Hakki Bey in centre. Print in poorish condition, with overall spotting.[Albumen print, 377x305mm]. Group portrait, with Ludlow seated in centre. Group portrait, with member od the police band seated at the front.[Gelatin silver print, 297x245mm]. Group portrait, with pencilled note on reverse reading: 'Probably somewhere in Central India after a paper chase or something similar, about 1890.'[Albumen print, 290x180mm]. Group portrait, with Raja of Bharrai seated in centre of group of beaters. Pencilled note in Ramsden's hand reads: 'Raj-Gond Estate, under the Court of Wards - in S. of Rehli Tahsil, just N. of R. Nerbudda. I was SDO and officer i/c C. of Wards. Long tiger beats. The big tiger broke back short of my machan after � mile beat by 100 Gonds in temp. of about 110 degrees! I was alone - used all the water in my water-bottle to cool the barrel of my 500/577 DB rifle. Several Saugor Cavalry School students beat for it (before & after I did), unsuccessfully - about 50-60 ms. SE of Saugor.' Group portrait, with Rt. Rev. John Miller Strachan, Bishop of Rangoon, seated in centre. On the left of the Bishop is Archdeacon Dyer, on the right Rev. Hodder. The S.P.G. missionary L.L. Sullivan stands behind the Bishops' right shoulder. Group portrait, with separate letterpress key identifying sitters as follows:FRONT ROW, RIGHT TO LEFT: Colonel J.H.S. CRAIGIE, Assistant Adjutant General; Major General Trevor Bruce TYLER, Inspector General of Artillery in India; Surgeon Major General Albert Augustus GORE, Principal Medical Officer, H.M.'s Forces in India; Major General Alexander Robert BADCOCK, Quarter Master General in India; General Sir Charles Edward NAIRNE, Commander-in-Chief in India; Major General Gerald De Courcy MORTON, Adjutant General in India; Major General Edward Locke ELLIOT, Inspector General of Cavalry in India; Colonel William HILL, Assistant Adjutant General for Musketry; Surgeon Lieutenant Colonel Charles Henry BEATSON, Secretary to Principal Medical Officer, H.M.'s Forces in India. SECOND ROW, LEFT TO RIGHT: Major Henry Bulckley Burlton WATKIS, Deputy Assistant Adjutant General; Colonel George Hand GORE-MOLYNEUX, Assistant Quarter Master General, Intelligence Branch; Captain E.W.M. NORIE, Deputy Assistant Quarter Master General, Intelligence Branch; Colonel Edward Alexander MONEY, Deputy Adjutant General in India; Colonel Arthur Bouverie STOPFORD, Assistant Adjutant General for Artillery; Veterinary Colonel H. THOMSON, Principal Veterinary Officer in India; Lieutenant Colonel William Henry Fothergill MACMULLEN, Judge Advocate General in India; Lieutenant Colonel Beauchamp DUFF, Military Secretary to the Commander-in-Chief, India; Lieutenant E.S. NAIRNE, R.A., A.D.C. to the Commander-in-Chief; Lieutenant Henry Benfield Des Voeux WILKINSON, Durham Light Infantry, A.D.C. to the Commander-in-Chief; Colonel Harold Pemberton LEACH, Officiating Deputy Quarter Master General in India; Major Ronald Charles MAXWELL, Officiating Deputy Assistant Adjutant General for Royal Engineers; Colonel Henry Doveton HUTCHINSON, Director of Military Education in India; Major George Vero KEMBALL, R.A., Deputy Assistant Quarter Master General, Intelligence Branch; Captain George Cecil DOWELL, Officiating Brigade Major to Inspector General of Artillery in India; Captain James Archibald DOUGLAS, 2nd Bengal Lancers, Deputy Assistant Quarter Master General, Intelligence Branch; Major Harvey Frederic MERCER, R.A., Interpreter to the Commander-in-Chief; Lieutenant W.P. DIMSDALE, A.D.C. to the Commander-in-Chief.THIRD ROW, RIGHT TO LEFT: Captain Charles Herbert CLAY, 43rd Gurkhas, Officiating Staff Captain, Intelligence Branch; Captain George Alan Robertson, 15th Bengal Lancers, Officiating Staff Captain, Intelligence Branch; Major Herbert MULLALY, Deputy Assistant Quarter Master General for Mobilization; Captain William David Thomson, 1st Bengal Lancers; Assistant Judge Advocate General; Major George John YOUNGHUSBAND, Officiating Assistant Quarter Master General; Captain Henry Torrens KENNY, 2nd Bombay Lancers, Attach�, Quarter Master General's Department; Surgeon Major Arthur England Johnson CROLY, Surgeon to the Commander-in-Chief; Lieutenant Arthur Henry MARINDIN, Black Watch, A.D.C. to the Commander-in-Chief; Captain Augustus Anderson Jervis JOHNSTONE, 5th Punjab Infantry, Deputy Assistant Quarter Master General, Intelligence Branch; Captain MacCarthy Reagh Emmet RAY, 7th Bengal Infantry, Attach�, Adjutant General's Department; Captain Frederick Aubrey HOGHTON, 1st Bombay Infantry, Attach�, Intelligence Branch; Captain Herbert Flamstead WALTERS, 24th Bombay Infantry, Attach�, Intelligence Branch; Major William Hely BOWES, Deputy Assistant Adjutant General; Captain John Kelso TOD, 7th Bengal Cavalry, Staff Captain, Intelligence Branch.[Albumen print, 279x171mm]. Group portrait, with servant standing in background. Charles William Hodson (b.1851), was an Executive Engineer on the North-Western State Railway at this period. Group portrait, with Sir Augustus Spencer seated at centre. The lady to the right is presumably Lady Spencer and some or all of the three younger women may be their daughters. The three unidentified members of Spencer's staff are also seen in print 2 of this album. The woman seated between Sir Augustus and [?] Lady Spencer also appears in at the centre of the group in print 64, where she is tentatively (and probably incorrectly) identified as Lady Wodehouse. Group portrait, with sitters arranged beneath tree in front of tent. The figures are identified as follows (from right to left): 1. Sir Edward Campbell, Military Secretary; 2. Hon. John Constantine Stanley ADC; 3. R. [?Richard] Walters; 4. Captain H.M. Jones ADC. [266x222mm]. Group portrait, with sitters identified as follows: (Back row): Captain Hobday, Major Muir, Colonel Boileau, Captain Bridges, Captain Knight. (Front row): Mrs Boileau, Mrs Black, General Monro, Lady Monro, Brigadier-General Black.[Gelatin silver print, 284x228mm]. Group portrait, with sitters identified as follows: (back row): Lieut. W.E.P. Harrison, Subadar Wadhwa Singh, Lieut. H.A. Long; (middle row): Lieut. Merston, Lieut. E. Parker, Lieut. A.J.H. Bourke, Lieut. H.R.M. Jeffries MC, Lieut. E. Robins DCM, Jemadar Fazal i Khaliq, Lieut. F.H.E. Le Mesurier, Subadar Chuni Lal, Subadar Khaista Khan; (front row): Capt. J.E. Ferguson MC, Capt. L.R. Knight MC, Subadar Sukbir Gurung, Major D. Bainbridge MC, Lieut. Col. J. Clementi OBE, Subadar Major Taj Mahomed Khan, Capt. C.W. Free, Lieut J.H. Jameson; (seated on ground): Lieut. A.H. McFarlane, Jamadar Lal Bahadur Thapa, Lieut. D.Q.H. Agnew. Group portrait, with sitters identified as follows: (Front row), Mildred Katherine Pope (1872-1956), French tutor; Edith Mabel Lucy Lees (1878-1956), History tutor; Emily Penrose (1858-1942), Principal; Hon. Alice Moore Bruce (1867-1951), Vice-Principal; Emily Overend (Lorimer) (1881-1949), Tutor in Germanic Philology; (Back row), Miss Kempson, Elizabeth Hilda Lorimer (1873-1953), Classical tutor; Helen Darbishire (1881-1961), English tutor, later Principal; Miss Waldon, Bursar.[Silver printing-out paper, 291x237mm]. Group portrait, with sitters identified as follows: Sir Muhammad Saleh Akbar Hydari, Sir Olaf Kirkpatrick Caroe, Sir Andrew Gourlay Clow, Sir Hugh Dow, Sir Francis Verner Wylie, Lieutenant-Colonel Sir David John Colville (1st Baron Clydesmuir), Lord Mountbatten, Lieutenant-General Sir Archibald Edward Nye, Sir Evan Meredith Jenkins, Sir Robert Francis Mudie, Sir George Edmond Brackenbury Abell, General Hastings Lionel Ismay (1st Baron Ismay), (?)Eric de Merville, and two unidentified figures.[Gelatin silver print, signed 'Mountbatten of Burma' in grren ink, 271x171mm]. Group portrait, with sitters identified as follows in key beneath print: Mr Thornton, Secretary; Edward Brandreth, Commissioner; Captain Mercer, ADC; Major Black, Military Secretary; Captain Pemberton, ADC; A.B. [Arthur Brandreth]; Rev Hardinge, Bishop's Chaplain; Edward Prinsep, S[?] Commissioner; Mr Roberts, Judicial Commissioner; Bishop Cotton; Lieutanant Governor; Colonel Taylor, CB, Chief Engineer; Colonel Lake, CB, Financial Commissioner. Group portrait, with sitters identified in key in mount as follows: (seated, left to right): V.S. Hemrajani; F.A. Azimbux; Taj Md. Pathan; P.H. Bijlani; H.M. Mirchandani; R.G. Davies; D.T. Advani; M.I. Uppal; N.M. Himatsingani; K.K. Bhambhani; M.L. Karna; (standing): B.K. Shahani; J.R. Lahori; H.N. Juriassingani; K.S. Bhatia; Mr Karimbux; H.K. Dhanwani; Ali Hassan; Md. Usif; Gul Md.; Mr Karimdino. Group portrait, with sitters identified in key on print mount as follows: (1st row, seated): Roger Thomas; K.B. Ghulam Mahomed; Arbab Togachi; K.B. Ghulam Nabi Shah; Seth Jhamandas; R.G. Davies; Lady Dow; Sir Hugh Dow; S.B. Haji Mir Allahdad Khan; Mir Ghulam Ali Khan; Seth Sitaldas; K.B. Mahomed Hayat; K.S. Haji Suhrab Khan; Mr Henderson; (2nd row): Seth Valiram; Seth Shambhunath; K.S. Ghulam Hussain; K.S. Din Mahomed; K.S. Atta Mahomed; Seth Harchandrai; K.S. Haji Muradbux; K.S. Ghulam Kadir; R.S. Mulchand; Sardar Sahib Kaisarsingh; Mir Imambux Khan; Mir Ahmad Khan; (3rd row): Seth Sanwaldas; Seth Choithram; Seth Kaliandas; Mir Ghulam Hussain; Wadero Daryakhan; Haji Mahomed Hashim Mari; Sardar Labhsingh; Wadero Abdul Samand; Seth Shounkimal; Seth Ganumal; Wadero Allahbux; Mir Dital Khan; (4th row): Seth Rochiram; Mir Mohamed Khan; Wadero Yar Mahomed; Wadero Rasul Bux; Seth Warumal; Wadero Yar Mahomed; Rais Kadirdadkhan; Sardar Sundersingh; Seth Narumal; Arbab Allah Jurio; (5th row): Wadero Bilawal; Seth Dhalumal; Sayed Fateh Ali Shah; Seth Udhandas; Seth Nanikram; Patel Dhengomal. Group portrait, with some identifications supplied. The sitters are: (secretaries, standing behind, left to right): Edward Harbourd Lushington, Financial Secretary; Colonel (later Sir) Henry Norman, Military Secretary; Colonel (later Sir) Henry Durand, Foreign Secretary; Mr (later Sir) Edward Bayley, Home Secretary; Colonel (later Sir) Richard Strachey, Public Works Secretary. (Members of Council, seated, left to right): George Noble Taylor; Sir Charles Trevelyan; Sir Hugh Henry Rose (Lord Strathnairn); Sir John Lawrence (Lord Lawrence); Sir Robert Napier (Lord Napier of Magdala); Mr (later Sir) Henry James Sumner Maine; Mr (later Sir) Willaim Grey.For other copies of this print see: Photo 42 (192), Photo 782 (13), Photo 797 (77), Mss Eur G38/2 (LXIIIb). Photo 793 (56) shows a similarly posed group, evidently taken on the same occasion. Dates between 1864 and 1866 are given on various prints. Photo 797 (77) gives the location as Simla. Group portrait, with Stein and Pipon standing in the centre of their escort. Probably taken at the start of their trip to Mahaban, possibly at Jhanda on about 28 October. Group portrait, with the following identifications: Sir Campbell Rhodes, Sir Charles Alexander Innes, Sir William Malcolm Hailey, Sir Basil Phillott Blackett, Arthur Lee, Denys de Saumarez Bray, Ernest Burdon, Sir Montagu de Pomeroy Webb, Sir Deba Prasad Sarbadhikari, Diwan Bahadur Tiruvenkata Rangachariar, Sir Jamsetjee Jejeebhoy, Abul Kasem, Kabeerud-Din Ahmed, Haider Karrar Jafri, T.V. Seshagiri Ayyar, Sir Alexander Frederick Whyte.[Gelatin silver print, 130x277mm]. Group portrait, with the following identifications supplied: Mrs Hardy, Mr Hardy, Miss Stiffe, Walter Binny Douglas, Miss MacDonnell, Hill, Innes, Lady MacDonell, Sir A. MacDonnell, Maharaja of Balrampur, Major Pennell, Mrs Jennings, Captain Bayley, Captain Robertson, Hodgkinson, General Jennings, Colonel Maconachie, Wood, Ross. Some staining on print surface.[Platinum print, 293x243mm]. Group portrait, with the following identifications supplied on the reverse: Elizabeth Hilda Lorimer ('Aunt Hilda'); Miss Spicer (later the Hon. Mrs Pilkington); Janet Thomson (later Mrs Earnshaw); Emily Overend (Lorimer).[Silver printing-out paper, 295x122mm]. Group portrait, with the following sitters identified beneath the print: (back row, standing, left to right): Dr John Cruikshank; Sir James Fergusson; [illegible name]; (front row, seated, left to right): Lady Mayo; Lord Mayo; Lady Edith Fitzgerald; Sir Seymour Fitzgerald; Mrs Fitzgerald.[Albumen print, 273x207mm]. Group portrait, with the following sitters identified on the reverse: Ranee Scoll (later Lady Pim); Emily Overend (Lorimer); Janet Thomson (later Mrs Earnshaw); Agnes Catherine Maitland (principal); Dorothy Pearsall (later Mrs Biggs); -- Spicer (later the Hon. Mrs Pakington); 'Auntie Floss'; 'Auntie Em'.[Silver printing-out paper, 292x122mm]. Group portrait, with the Mehtar of Chitral and Keppel seated at the left. Group portrait, with the Rt. Rev. John Miller Strachan, Bishop of Rnagoon, seated centre. Rev. Hodder seated at left. The portrait was probably taken at the consecration of the church, a ceremomy which took place exactly a year after the laying of the foundation stone. Duplicate at print 64. Group portrait, with the young Nawab, Sadiq Muhammad Khan, seated with members of his durbar and one European, presumably Charles Cherry Minchin, Political Agen at Bahawalpur. See notes at Photo 28/2(13) and Mss Eur G38/1 (22i).[Albumen print, 261x215mm]. Group portrait; snapshot, slightly unsharp. Group portrait: 'Read Standing from Left to Right. Sitting - Gurbachan Singh; K.L.Young; Capt Bisset; Rampartap Singh; Maj Bickley (Coy Comdr); M.K. Abbasi (under officer); Capt Roy; Md Iqbal; C.S.M. King; Anant Singh. 2nd Row - Marshal; Watts; Harban Singh; Surjan Singh; Savant; Nazar; M. Aslam; Freemantle; Piggot; Montgomery; Nahr Singh; Hari Singh; Jagir Singh; Bhagwan Singh; R.S. Virk. 3rd Row - Elliot; Chattertan; Lee; Balbir Singh; Maqbal; Ahmed Saed; Dudt; Ananda Rao; Riaz Hussain; Crananberg; Puran Singh; Didar Singh; Shinde; Mahmud. 4th Row - Furtado; Vowels; Jai Singh; Shardul; M.K. Janjua; Ghanwat; Gune; Jadhev; Salunke; Jagat Singh; Jaswant Singh; Martin; Samuel'. Group portrait: 'The helmets which surmount all the personages in this picture (except Lords Suffield, Carington, and Charles Beresford) were not assumed for the purpose of disguise, but in deference to the Indian sun; nevertheless they do make identification in some cases difficult. The Prince, however, in the centre of the group, cannot be mistaken. The Duke of Sutherland and Sir Bartle Frere are seated on either side of His Royal Highness; General Probyn and Lord Alfred Paget are standing just behind, while Lord Carington and Lord Charles Beresford are safely established on the ground in front.To the left of the Duke (in the picture) is Lord Suffield, and behind are Lord Aylesford, Colonel Ellis, and Mr Knollys. To the right of Sir Bartle Frere we have Sir Sam. Browne and Major Henderson seated, and standing behind them Sir Joseph Fayrer, Dr Russell, Canon Duckworth, and Major Bradford.'[Albumen print, 136x97mm]. Group portrait: 'The Prince will at once be recognised in this capital photograph. His Royal Highness, the only person in the group not uncovered, has Lord Northbrook on his right and Miss Baring on his left. Prince Louis of Battenberg is sitting next to Lord Northbrook, Lord Suffield just behind, and Sir Henry Norman behind him. The Prince's suite are chiefly to the left of the picture, the Indian officials to the right.'[Albumen print, 142x95mm]. Group portrait. 'Dollar' in the title refers to the home town of the Izat family in Scotland. The following identifications (written at a later date) are given beneath the print: Rennie Izat, Wiliie Izat, Stanley Cairns, Jack Westwood, Alec Walker, Geoff Holmes, Eva Izat, Holmes, Isobel Izat, Annie Westwood, Ian Cruikshank, Herry Westwood.[Gelatin silver print, 191x131mm]. Group portrait. 'Left to right, back row: head cook, kit-boy, head groom, laden butler, two tent-pitchers, Sirdar Tse-ring, Ten-dzin groom, two dandy-wallahs, Ali dandy-wala, Cham-pa; front row: under-cook, temporary dandywala, Pyne's servant (bitten by mastiff), temporary dandywala, dandywala, temporary dandywala, Gye-lu. Group portrait.[Albumen print, 211x161mm]. Group portrait.[Gelatin silver print, 134x78mm]. Group portrait.[Gelatin silver print, 138x85mm]. Group portrait.[Silver printing-out paper, 207x157mm]. Group portrait. A pencilled note in the hand of Denis Phelip reads: 'E.G. Pattle when he was District Magistrate, Rangoon. On his left hand is Sir Po Tha. All that now consists of Rangoon Honorary Magistrates. I think the background is the Development Trust Building which housed the DM till the new Law Courts were built.[Gelatin silver print, 288x225mm]. Group portrait. Four Europeans (Barclay, Bailey, Macready and Kennedy) seated in front row with the bag, Tibetans porters and beaters standing behind. Precise location not specified. Group portrait. Kanthad Wala of Jetpur, Ram Wala of Bagasra, Raning[?] Wala of Jetpur. Vira Wala of Bagasra, Vajubha of Sayla, Self (Captain), Brook-Fox, Ram Harzar Wala of Bagasra, Punja Wala of Nawania, Valera Wala of Chital. Group portrait. Lady Hailey is presumably the figure seated in the centre. Group portrait. Mary Anne Money (1822-1865) is sitting on the left, Rowland Money (1812-1869), Member of the Board of Revenue, NWP, is standing next to her. Wigram Money (1809-1886) is standing on the right behind Lieut-Colonel Ernle Kyrle Money (1814-1883), 5th Brigade Horse Artillery. Group portrait. Sitters arranged round a bench. Caption on the print reads: ''Poona Four' - Winners of the Madras Challenge Cup, 1907'. Group portrait. Sitters named as follows, from left: 'Col Pollard, Col Chas. Hutchinson, Capt Pemberton, Robinson, [E.M.?] Larminie, Col Randall, Capt Filgate, Lord Napier, Clem Brown, [W.S.S.?] Bisset, Col Alec Taylor, [E.P.] Leach [VC], Col Innes, Col Crofton, Col Williams'. Group portrait. Small snapshot. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. Group portrait. The badges of several of the Indian figures read: 'Compounder R.E.M.H.' [?- - Mission Hospital].[Silver printing-out paper, 287x205mm]. Group portrait. The commandant, Lieutenant-Colonel W.R. Haughton stands left of centre (figure with white beard). Pencilled note on the reverse of the print reads: 'Some of the officers in camp. Murray is on the left in an Indian gauze vest, - he was called out in the middle of a shave.' Group portrait. The European figure is Philip James Griffiths Pipon, ICS, Officer in Political Charge of the Yusufzai Border, who accompanied Stein on his trip to the Mahaban Range. Group portrait. The figures are indetified as follows (left to right): Walter Monckton (1st Viscount Monckton of Brenchley); John Foster (later Sir John Galway Foster, MP); Lady Amena Hydari(wife of Sir Akbar Hydari); Lady Sigrid Hydari (wife of Sir Muhammad Saleh Hydari); Sir Akbar Hydari; Curly Hydari (Sir Muhammad Daleh Hydari); Akbar Junior (presumably the son of Sir Muhammad Saleh Akbar Hydari).[Gelatin silver print, 195x145mm]. Group portrait. This appears to be the Baker & Burke photograph listed as 'Group of Lords Mayo and Napier, with staff, taken in Col. Pollock's Compound' in the series of views taken of the Viceroy's visit to Peshawar. Col (later Major-General Sir) Frederick Pollock is seated extreme left; General Sir Samuel ('Sam') Browne is seated to the left of Mayo; next to Mayo but one on the right is General (afterwards Field-Marshal) Lord Napier of Magdala; on Napier's left is General (later Field-Marshal Sir) Henry Norman, Military Member; and on Norman's left Major Owen Burne, the Viceroy's Private Secretary. Similar view at print 69. Group portrait. Vignetted oval image. Group portrait (modern copy print from an original dated 6.8.1921) of officers of the 2nd Battalion, 10th Jats, probably photographed at Delhi. The following identifications are supplied: H.R.H. Richardson, A. Jardine, W.V. McCalmont, C.H. Marsh, Reilly (presumably H.R. O'Reilly), C.W. Dron, C.J. Farr.[Gelatin silver print, 247x141mm]. Group portrait at an unidentified event. The presence of some men in military uniform suggests that the photograph was taken at the military review seen in print 42.[Gelatin silver print, 282x229mm]. Group portrait below the banner: 'Long Live Mr & Mrs Stotherd'. Group portrait beneath a canopy with some individuals named as follows: 'Pepys, Litster[?], Walton, Bernard, Rayner, Anderson, Parker, Self, Sir James Crerar[?], Lady MacMillan, Maharaja of Faridkot, Lady Mitter, Sir William Birdwood, Lord Irwin, Lady Birdwood, Sir G MacMillan, Sir B. Mitter, Sir B. Mitra, Sir George Raing[?]'. Group portrait in a garden with pets. Group portrait in camp at Gandarbal, with sitters arranged in front of tent. They are identified on the reverse of the print as Sir Francis Younghusband, Mrs de Filippi, Filippo de Filippi, Helen Younghusband, Marchese Negrotto, Duke of the Abruzzi and Vittoria Sella. See Filippo de Filippi, 'Karakoram and Western Himalaya, 1909. An account of the expedition of H.R.H. Prince Luigi Amedeo of Savoy, Duke of the Abruzzi...' (London, 1912).[246x195mm]. Group portrait including: 'D.M. Cookson; Margaret; Campion; C.A. Cooke; Mrs Barron; Rao Rajah Kalyan Singhji; Col Barron, RE; Mrs Cooke; C[harles Stotherd]; V. Capper; Jacker DLO; Mrs Jacker'. Group portrait including H.H. Spalding, back row, third from left. Group portrait including H.H. Spalding, front row, third from left. Group portrait in England. Group portrait in front of thatched house inside Chinese territory. Group portrait in front of the entrance of Snowdon, the Commander-in-Chief's official residence. For a very similar portrait, evidently taken on the same occasion, see Mss Eur D783/8 (28).[Gelatin silver print, 287x234mm]. Group portrait in front of the Residency at Taunggyi. Sitters are unidentified apart from Sir George Scott (standing, left) and Lady Scott (seated right), and the central seated figure, Sir Herbert Thirkell White, Lieutenant-Governor of Burma 1905-10. Group portrait in which eighteen of the nineteen sitters are named as follows: '[From left] Captain East, AQMG; Lt Col Holmes, AAG; Lt Col Maisey, DJAG; Captain Scott, AAG; Lt Col Young, DJAG; Insp Gen of Hosp's Beatson, MD; Col Middleton, DAG, R.Art; Capt the Hon W. Harbord, ADC; Lady Mansfield; Major Flood, Mil Sec; Surg Maj Ross; Gen Sir W. Mansfield, C in C; Major Gordon, Ch Ins Mus; Col Longden, Adj Gen; Maj Gen Paton, QMGen; Capt Elles, DAAG; Major Gordon, Interpreter; Major C.C. Johnson, AQMG'. Duplicate print at Photo 1044(2). Group portrait of 12th Bengal Cavalry polo team, identified below print as: (Lieutenant Dennis) Deane, (Lieutenant Walter) Hesketh, (Jemadar) Futteh Khan, (Edward Mary Joseph) Molyneux, (Captain Thomas Hugh) Smith.[Printing-out paper, signed 'Holmes' in the negative, 250x183mm]. Group portrait of A.H. Faithful (Burma Police), (Sir) Bertram Sausmarez Carey (Political Officer, Chin Hills), W. Calogreedy (Myook, Treasury, Meiktela), S. H. T. De La Courneuve (Burma Commission), and Lieutenant Harry Franc Holland (Commandant, Military Police Battalion, Meiktela). Group portrait of actors in costume, named as follows: 'Dr Thompson, Miss Greenwood, Miss Newmarch, Mrs Webster, Major Marshall, Thomson, Capt Robinson, Inglis, Mrs Marshall, Miss Steel, Capt Muir [?], H. Steel, Mrs F.A. Steel, Miss Newmarch'. Group portrait of Addiscombe cadets, posed in uniform in front of one of the college buildings. A key on the facing page identifies the sitters as follows: McSwiney, Cornelius F. James (1855-56), Henry A. Shaw (1855-56), George M.W. Sotheby (1855-56); Frank Robertson (1855-57), Edward Raikes (1855-56), Henry Girardot (1855-56), William Conninghan (1855-57), Robert C. Daubuz (1855-56), James H. Knox (1855-56), Oliver B.C. St John (1855-57), David Graham (1855-56), George D.A. Younghusband (1854-56), William J. Cottam (1855-56), Walker, William O'Brien (1855-56), Augustus or Robert Le Messurier; Thomas F. Dowden (1855-57), William Merriman (1855-56), Traill (?David H. Trail, 1855-57), Alexander Shaw (1855-56), Frederick W. Burney (1855-56), Arthur D. Butter (1855-56), John N. Martin (1855-56), Isaac P. Westmorland (1855-57), Alexander Wynch (1855-56), William H. Bowyer (1855-57), Edward W. Shaw (1855-56), John Herschel (1855-56), Edward T. Hume (1855-56), Arthur C. Padday (1855-57); Julius Moxon (1855-), Thaddeus Ryan (1855-56), Henry B. Edwards (1855-57).[Albumen print, arched top, 218x140mm]. Group portrait of Alfred and Mrs A. Master, garlanded and seated with office staff of clerks, patawalas and policemen gathered around them. A later note on the reverse gives the location as Satara and a queried date of 1916 or 1920. The original caption, mostly cropped from the mount seems to support the date of 1916. The location on the original caption appears to differ from Satara, but has not been deciphered.[Printing-out paper, 202x131mm]. Group portrait of Ann, Lady Butler, with nuns and pupils.[Gelatin silver print, 202x148mm]. Group portrait of army officers in camp in England. Print damaged by damp. The sitters are identified as follows: 'R.T.J.; A.T. Sharpe; J. Chapman; Stanley Toller; R.E. Martin; Beazley.' Group portrait of army officers posed behind table bearing coffee pots, cups, etc. With key identifying figures as follows: 1. Col M. Smith 81st Regt; 2. Col W.G. Brown 24th Regt; 3. ---; 4. Capt S. Davies Ex Engr; 5. Lieut W.H.M. Jackson 81st Regt; 6. Lieut-Col H. Milne 1st BNI; 7. Maj F.N. Edmonstone; 8 Lieut T.D. Bingham 8th BC; 9. Capt H.N. Miller; 10. Capt J.W.F. Bean; 11. Capt F.M.H. Forbes; 12. Capt F.W. Stubbs HA; 13. Maj W.H. Ryves 8th BC; 14. Lieut E.C.W. Raynsford HA; 15. Capt F.R. Pollock; 16. Lieut G.G. Young; 17. Maj J.A. Gildea 81st Regt; 18. Capt F.J. Craigie 1st BNI; 19. Capt G.J.D. Hay 8th BC; 20. Capt J.G. Sparke 1st BNI. Print signed 'A.H.B.' in corner. Second copy neg at B.8682.[Albumen print]. Group portrait of army officers posed behind table bearing coffee pots, cups, etc. With key identifying figures as follows: 1. Col W.G. Brown; 2. Capt S. Davies; 3. Capt F.M.H. Forbes; 4. Lieut F.J. Craigie; 5. Capt F.W.S. Stubbs RHA; 6. Capt F.R. Pollock; 7. Lieut W.H.M. Jackson 81st; 8. Maj F.N. Edmonstone Pay Mr; 9. Capt J.F. Bean Cant Mag [Cantonment Magistrate]; 10. Lieut-Col C.V. Cox RHA; 11. Lieut T.D. Bingham; 12. Lieut H. Maturin; 13. Maj J.A. Gilden 81st; 14. Lieut-Col H. Milne NI; 15. Maj C.P. Lane; 16. Maj W.H. Ryves Cav; 17. Lieut G.G. Young; 18. Capt G.J.D. Hay Cav; 19. Lieut C.A.M. Warde RHA; 20. Lieut H.S. Clarke RA; 21. Capt J.G. Sparke. Print signed 'A.H.B.' in corner. Second copy neg at B.8681.[Albumen print]. Group portrait of army officers posed in a woodland clearing. Sitters identified as follows: Harris; Rhodes; Pascoe; Keddle; Lawes; Knowland; Ingles; Gladstone; Carter; Strange; [name illegible]; Sergt. Wallace; Capt Matthews; Pilgrim; Nicholson?; Alec Worster; B. Darley; Major Backhouse, Cmdt; Potter; Trotter; Burgess; Manley; Lall; Ingles; Hicks; T.J.; Wilson. Group portrait of Artillery officers posed beside a cannon. The figures are identified as Edward Trevor Hume, Charles MacWhirter Mercer, Chapman, John Ramsay Sladen and C.S.S. Taylor. The caption below the print gives a date of 1863; the photograph itself, however, is more preceisely signed and dated 'C.A.M. Warde 7/4/62' in the negative. Other copy negs at B.8739, B.1941.[Albumen print]. Group portrait of a tennis party. Group portrait of Balti and Kashmiri porters and other camp workers. Duplicate (in better condition) at Photo 364/2 (29). Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 73, where the sitters are named or ethically defined. Group portrait of battalion, on parade in front of barracks. Print in poorish condition, with overall spotting.[Albumen print, 377x305mm]. Group portrait of beaters with the day's kill. Probably photographed in the New Delhi area. Original and duplicate negatives only, no print. Group portrait of Bell and staff. Group portrait of Bengal Engineers, with key beneath print identifying the figures as follows: Alves B.E.; Western; Ross B.E.; Cumming; Cruikshank; Smith; J. Armstrong B.E.; Strahan B.E.; Hamilton; Clarke B.E.; Tomkins B.E. Group portrait of Bhupendra Singh, Maharaja of Patiala, surrounded by the officials of his Council of Regency. James Robert Dunlop Smith is seated on the left of the Maharaja, Kunwar Ranbir Singh on the right, with the three other members of the Council of Regency seen in print 19. grouped around them. Duplicate at Photo 355/3 (70), where the figure on the right is identified as Rai Nanuk Bux. Print signed by Bhupendra Singh and Kunwar Ranbi Singh. Group portrait of Bhutanese and Europeans. Ludlow stands in the centre at the back of the group. Group portrait of boundary commission officers, Prefect Peng and General Liu in centre of group. Col Ma is seated left. Group portrait of boundary commission staff, seated in the open air round a table on which stand refreshments of various sorts, including bottles of sherry and an opium pipe. With bodyguard standing in background. Prints 8 and 9 were evidently taken on the same occasion, near Longling in western Yunnan. Group portrait of Brigadier-General Hart seated with staff of the 1st Brigade, 1st Division. Group portrait of British and Chinese boundary commission staff. Group portrait of British and Indian officers. Sydney Frederick Muspratt is seated in the front row, third from right.[Silver printing-out paper, 280x211mm]. Group portrait of British and Indian officials and clerks, posed in the open air. Taken on the same occasion as print 22, but without wives in the photograph. No identifications supplied. Charles Aitchison is seated to the left of the central figure. Group portrait of British officers, dressed informally and with some holding tennis racquets. A line of Burmese seated at the front of the group. Two of the Burmese figures also appear in print 65, they are identified as Sagaing officials. Group portrait of British officers, named as follows: 'Jack Nixon, Pettigrew, Tex Macleod, Scottie, Sandy, Jeremy Dyer, Self [P.B. Janson], Peter Oliver, Mike Baily, Spadger Garrow, Skrino, Nat Cosby, Fitz, Piper (IMS), Willy Wilcock'. Group portrait of British officers, named as follows: 'Jeremy Dyer, Tex Macleod, Pettigrew, Scottie, Self [P.B. Janson], Willy Wilcock, Spadger Garrow, Mike Baily, Piper (IMS), Pat Macnamara, Ho Dracott, Fitz, Skrino, Johnson (PA), Col Parsons (Resident), Col Russell (IOFC), Stanley P. Williams, Nat Cosby, Ambrose, Jack Nixon, Peter Oliver, Sandy'. Group portrait of British officials posed on the verandah of the Residency. Figures identified as follows: (back row): Maj McIvor; Officer of Guard; Capt Fuller ADC; Capt Adam ADC; Capt Ponsonby ADC; Col A. Durand; Dr Franklin; Capt Gough ADC; Capt Pallen ADC; (front row) Mr Babington Smith; Mr Cunningham; Sir James Browne; Lord Elgin; Lady Elgin; Sir George White; Miss Browne. Group portrait of British soldiers in camp, presumably outside Pretoria. Group portrait of Burma Corporation staff.[Gelatin silver print, 140x81mm]. Group portrait of Burma Railways office staff, showing European and Burmese officials, servants, runners, etc. The only two identified sitters are Hugh Monk Lewin and A. Benjamin Court.[Albumen print, with photographer's blind-stamp, 276x218mm]. Group portrait of Burmese residency staff.[Gelatin silver print, 100x76mm]. Group portrait of Burmese staff.[Albumen print, 181x119mm]. Group portrait of Burmese women, wives of the residency staff seen in print 58.[Gelatin silver print, 99x74mm]. Group portrait of cadets, with figures identified beneath print as follows: H. Stevenson; C. Reilly; G. Macdonell; J. Charles; J. Dewar; W. Lockhart; P. Rolland; C. Reid; M. Bowie; F. Collis; G. Lamb; H. Young; H. Mackenzie; J. Free. Second copy neg at B.2713. Group portrait of cadets, with figures identified beneath print as follows: M.C. Smith; C. Sturt; H. Crichton; G. Skipwith; B. Lovett; A. Fraser; H. Watson; J. James; E. Machell; C. Pemberton; L. Jackson; E. Trevor; W. Campbell; J. Cruikshank; F. Home; J. McDougall; H. Gleig; G. Oldham; J. McCausland; C. Harrison; j. Alexander; K. Mackenzie; P. Marindin; G. Balfour; R. Lowis; P. Lempriere; H. O'Grady; A. Bannerman; D. Williams; R. Thompson. Duplicate at Photo 799 (4). Group portrait of cadets, with figures identified bewneath print as follows: C. Warde; E. Oucterlony; G. Russell; H. Vibart; M. Ommaney. Group portrait of cadets, with Francis Younghusband standing on the left, back row. The card mount is stamped J. David, 90 rue de Courcelles � Levallois, Paris.[Silver printing-out paper, 200x125mm]. Group portrait of cadets. The sitters are identified beneath the print as: Maltravers H.C.B. Steinman (1855-57), Horace C. Brown (1855-57), Robert Brown (1855-57), John G. Gil[l]more (1855-57), William M. Aitchison (1855-57), Thomas H. Lewin (1855-57), Henry de G. Warter (1855-57), Robert J. Abbott (1855-57), Wallace W. Benson (1855-57), Thomas C. Manderson (1855-57), William H. Pye (1855-57), Alexander J. Filgate (1855-57), Isaac Ketchen (1855-57), Alfred Dixon (1855-57), Alexander F. Baillie (1855-57), Henry Ravenshaw Thuillier (1855-57), James R. Macleay (1855-57), Keith Alexander Jopp (1855-57), Anson Swinton (1855-57), William J. Stewart (1855-57), Alexander J.W. Cumming (1855-57), Fitzherbert Coddington (1855-57), Thomas C. Fletcher (1855-57), William R. Sheffield (1855-57), Anthony P. Bainbridge (1855-57), Edward H. Dyke (1855-57), Francis R. Burnett (1855-57), John G. Maitland (1855-57), Edward H. Ryan (1855-57), Stapleton Penny (1855-57), Richard S. Robinson (1855-57), Henry J. Thornton (1855-57), Harry P. Evans (1855-56), Edmond P. Pakenham (1855-57), George M. Hand (1855-57), Edward W. Flint (1855-57).[Albumen print, with some damage from folding, 244x172mm]. Group portrait of cadets in front of colonnade, with identifications supplied as follows: Warter, Manderson, Coddington, Penny, Filgate, Baillie, Thuillier, Dixon, Kitchen [Ketchen], Brown, Jopp, Thornton, Swinton, Stewart, McClay [Macleay], Fletcher, Dyke, Cumming, Robinson, Steinman, Bainbridge, Benson, Lewin, Abbott, Ryan.[Albumen print, 240x143mm]. Group portrait of cadets posed with cup. Figures are identified beneath the print as follows: G. Strahan, W. Campbell, P.Marindin, E.L. Marryat, W. Campbell, W.H. Pierson. Group portrait of cast. Group portrait of cavalry officers on horse back, in uniforms (print with slight spotting).[Albumen print, 306xx377mm]. Group portrait of children in fancy dress. Group portrait of Chinese Imperial Customs officials, identified as follows: Sandercock, Commings, Lebas, Tisdall, Bowring, Bredon, Lowder.[Gelatin silver print, 101x110mm]. Group portrait of Chinese trade officials, posed with Bailey and Kennedy on the verandah of Mr Ma's house. Poor quality print, with large area fogged. Group portrait of Chin Police.[Gelatin silver print, 281x214mm]. Group portrait of civilian members of the survey, seated with two Bedouin guides in front of a group of palms. Group portrait of civil servants with wives, with the following identifications written in pencil on the print mount: Algernon Paul Le Mesurier, Ewart Washington Trotman, Hugh Trevor Lambrick, Mrs Trotman, Charles Beaupr� Bell Clee, Godfrey Davis, Anne Dow, Hugh Dow, Ivon Hope Taunton, Mrs Clee, Eric Weston, Mrs Carstairs.[Gelatin silver print, 292x222mm]. Group portrait of Collectorate staff, with the senior (seated) staff identified in key on mount as follows: E. Joseph; S.A. Kulkarni; A.G. Vora; M.M. Donde; Captain M.K. O'Gorman; H.M. Dave; R.G. Davies; P.K. Kharkar; R.J. Sethna; R.B. Khavnekar; S.V. Gadkari; T.P. Mahalingam; V.S. Palshetkar. Group portrait of Colonel Sir George Lawrence and officials. This photograph is published in J.P. Losty's Clarence Comyn Taylor (1830-79): The first photographer in Udaipur and Nepal, in History of photography, Vol 16, No 4, Winter 1992, pp318-335. The photographer Eugene Impey is sitting second from right, but it is assumed that Taylor, who was Officiating Assistant to the Agent to the Governor-General of Rajputana at the time, was behind the camera. Captain Charles Walter is standing on the left. Group portrait of column.[95x74mm]. Group portrait of commission members. The following figures have been identified: (front row, seated, left to right): Clement Atlee, Colonel Lane-Fox, Lord Burnham, Lord Simon, Rt. Hon. Vernon Hartshorn, Lord Strathcona, Hon. E. Cadogan. Samuel Stewart stands third from left in the second row. Group portrait of Connaught Rangers. Group portrait of contestants, identified beneath print as follow: Sergt. J. Jardine, Sergt-Major J. Milner, Lieut J. Dutton-Hunt, Sergt J. Allan, Sergt J. Walker, Bugle-Major A. Stewart, Colour-Sergt W. Menzies, Sergt W. Ryder, Colour-Sergt J. Meikle. Group portrait of contestants in the golf match. Sitters identified as follows (some names illegible): Burton; Easton; Bradford; Bedford; Sims; Trevor-Jones; Woods; Yates; Wree; Hunt; Gullions; Hyatt; Sir Herbert William Emerson (Governor of the Punjab); Furley; Puckle; Dean. Group portrait of couple and guests at the wedding of Colonel John Edward Tennant (Director of Aeronautics, India 1918-19) and Georgina Helen, daughter of General Sir George Macaulay Kirkpatrick, with sitters identified as follows: (Top row): Lord Carnegie, General Dobell, Lady O'Dwyer, Miss M. Kirkpatrick, Mrs Tennant, Colonel Tennant, Lady Monro, General Monro; (Front row): Miss Kirkpatrick, Lady Kirkpatrick, The Viceroy (Lord Chelmsford), Lady Chelmsford, General Kirkpatrick.[Gelatin silver print, 287x222mm]. Group portrait of cricketers? Group portrait of cricket team, identified beneath the print as: '[Back row L to R] Sym, Lt Clutterbuck, Lt De Lautour, Red Stewart, Keen, FitzHugh, Pemberton, P. Smith. [Front row] Dr Tandy, Capt Bird, Close, Lewis'. Photograph attributed to William Baker or John Burke in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 26.[Albumen print, 185x136mm]. Group portrait of cricket team posed in front of the Annandale pavilion. It is not clear whether members of both teams are present in this photograph. Print not signed, but probably by Bourne & Shepherd. Group portrait of Curzon's prep school cricket team, with the headmaster, Rev. C. Cowley Powles, standing behind the group. The sitters are identified on the reverse of the mount as follows: Henry S.P. Davies (Captain); Charles Austin; James F. Bowen; Conway Canning; James Orr Ewing; Frank Gaskell; Philip Gurdon; Frederick G. Heathcote; George H. Horsfall; E. Eustis Johnston; R. Stewart Menzies; Scorer: G.N. Curzon. Group portrait of delegates, with key to sitters pasted beneath, as follows: (first row, seated on ground): K.V. Iyer, C.C. Fink, C.V. Bliss, T.G. Russell, J.C. Bose, A.E. Matcher; (second row, seated): Sir E. Jackson, G.L. Colvin, Lieut. Col. C. Walton, R. McLean, C.W. Lloyd James (President), A.A. Biggs, Col. G.R. Hearn, C.W.A. Carroll, W. Miller, S.C. Stuart Williams; (third row, standing): D.A. Fenton, B. Severs, G.S. Boquet, E.W. Proctor-Sims, A.T. Houldcroft, F.H. Bibra, F.H. Reaks, G.B. Warren, S.J. Kendrick, F.B. Wathen, P.G. Porteous, G.W. Eves; (fourth row, standing): H.A.M. Hannay, J.A. Polwhele, B.M. Crosthwaite, W. Paton, V.E.D. Jarrad, D.G.M. Mearns, J.A. ffolliott Powell, R.D. Connell, D.S. Burn; (back row, standing): H. B. O'Callaghan, L.D. Firmiger, A.T. Stowell, E.T. Robinson, M.H. Irens, A.W. Acres, A.N.J. Harrison, W.A. Burns, G. Peddie, R.L. Bliss, A.J. Cooper.Collection also includes documents relating to the proceedings of the conference.[275x190mm]. Group portrait of department. Group portrait of department. Group portrait of deputation, mounted on card with letterpress caption, photographer's stamp, and identifications as follows: (standing): Maharaja of Mymensing; Raja of Dighapatia; Raja of Tajhat; Raja of Gouripur; R.K. Sonthalia; Rai Bahadur L.M. Singh; Viceroy's ADC; Raja of Searsole; Mr S.D. Ghosal; Raja of Chanchal; Mr Hemendra Nath Guha Roy, Assistant Secretary; Sir Geoffrey de Montmorency; (sitting): Mr N.C. Pal Choudhuri; Mr T.P. Ghose; Mr T.N. Choudhuri; Mr H.L. Roy; Maharaja of Durbhanga, President; The Viceroy Lord Reading; Sir Ashutosh Chaudhuri, Secretary; Mr D.N. Chakraborty; Mr A.K. Chaterjee; Mohunt P.C. Giri; Mr T.N. Choudhuri; Maharaja Kumar Kameshwar Singh of Durbhanga; Maharaja Kumar Bisveswar Singh of Durbhanga Group portrait of domestic servants, posed in front of 66 Gough Barracks. Group portrait of domestic servants.[Albumen print, 219x173mm]. Group portrait of East Indian Railway employees posed on a verandah, with sitters identified as: H.C. Cowley (Resident Engineer Agra), Blackett (Junior Engineer, Agra), Leesmith, Ben, C. Hyne, C. Cook.[Albumen print, 150x183mm]. Group portrait of engineers and staff. No identifications supplied.[Printing-out paper, 276x211mm]. Group portrait of escort, posed on verandah.[Albumen print, 236x193mm]. Group portrait of Eton pupils. Curzon seated in centre of front row. Group portrait of European and Burmese staff. A pencilled note on the original album mount by Denis Phelips, Pattle's assistant and successsor as Warden, supplied the following identifications: 'Office of the Warden Burma Oilfields. Searle must have been taking over from Pattle. In the top most row standing are the peons, Left to Right U Nyun and Po Thin. The turbanned Indian I don't know. Standing behind Searle is Mg Nyo, the oilfields surveyor. Behind Pattle is the Warden's Head Clerk, Maung Maung. He later got into the Income Tax Dept. Squatting in front of Searle is Mg Than Mg who succeeded Maung Maung as Head Clerk.'[Gelatin silver print, 288x243mm]. Group portrait of European and Indian engineers. Caption on reverse. Group portrait of European and Indian officers, posed in front of Colonel Keyes' house at Abbottabad. Three of the European officers are known, Major O.E. Rothney (centre), Captain H.P. Close (on Rothney's left) and Lieutenant J.M. Sym (sitting on the left). The officer betwen Sym and Rothney is also in the 5th Gurkha group at Print 55 (see notes) but the other officer is not known.[Albumen print, 241x175mm]. Group portrait of European and Indian officers, with Sir Harry Lumsden seated second from left. Group portrait of European and Indian officers. Photo 782(88) is taken at the same location, and there identified as Dera Ismail Khan. The following individuals are named beneath the print: 'Major Abbas Khan, Capt F. Lance, Surg-Maj S.L. Courtney, Lt L.T. Bishop, Lt G.R. Campbell, Maj T.S. Kennedy, Capt R.C.B. Clifford, Lieut J.H. Broome, Riss Badhawa Singh, Riss Ghulam Haidar'.The photograph is also reproduced in 'History of the Second Panjab Cavalry from 1849 to 1886' (London, 1888), where it is dated 1870. This source also supplies a fuller listing of the Indian figures in the group, as follows: '[back row] Duffadar Sher Baz Khan, Duffadar Mansur Khan, Jemadar Irshad Ali, Duffadar Inayatullah Khan, Duffadar Shahbaz Khan, Jemadar Jiwan Singh, Duffadar Basti Singh, Captain R.C.R. Clifford, Duffadar Mahomed Ibrahim, Jemedar Sher Singh, Duffadar Ram Singh, Duffadar Bairam Khan, Duffadar Bagwan Singh; [front row] Captain F. Lance, Lieutenant L.T. Bishop, Major T.G. Kennedy, Lieutenant J.H. Broome, Major Abbas Khan, Surgeon Major S.C. Courtney, Ressaidar Badhawa Singh, Lieutenant J.R. Campbell, Duffadar Haji Khan, Ressadair Ghulam Haidar, Duffadar Ladha Singh, Munshi Sheonarain, Duffadar Ala Singh.' Group portrait of European and Indian office staff. The four European sitters are identified as (left to right): Gwyther, Harrison, Corbett, Faulconer. Three Indian figures are also identified: Isaac Aaron (Accountant), Pertabrai (Head Munshi), Lal Mahomed (Head Clerk).Similar to print 46. Group portrait of European and Indian staff, some garlanded and many holding small bouquets. Occasion unidentified. Group portrait of European girls. Group portrait of European guests in camp. Group portrait of European officers. Group portrait of European officers with Daflas. Group portrait of European posed, many with tennis racquets, in front of the verandah of an unidentified building. Thirteen of the fifteen sitters are identified as follows: Gwyther [probably Frank Edwin Gwyther, PWD], Mrs Tyndall, Henderson, Harrison, Davis, Mrs Faulconer, Mrs Rieu [Ida Augusta Rieu], Bader [F.R. Bader, Bombay PWD], Rieu [(Sir) Jean Louis Rieu (1872-1964), Bombay Civil Service],Corbett [P.J. Corbett], Mrs Henderson, Faulconer [E.H. Faulconer, temporary engineer, Begari Canals], [?]Mcollum. Group portrait of Europeans (?G.H. Barnard in centre) and Shans, with pagoda in background. Scott visited the pagoda on 7 September: 'Took a number of views from here, having previously taken one west from the water. Finished with a view of the party, the mist coming down so strong that no landscapes could be taken...At night developed the photos. Will all print I think but the distant views not much account' (Scott diary, 7 September 1889, OIOC F278/4 f. 68).[Gelatin silver print, 164x118mm]. Group portrait of Europeans (probably a picnic party) posed at the base of the Qutb Minar. The central figure is Frederick Jervis Home. Group portrait of Europeans and Bhutanese, with the Paro Penlop in the centre. Group portrait of Europeans in fancy dress. Handwritten notes on the print surface supply the following identifications: Col Hawkes; Maj Evanson; Mrs Kelly; Capt Wilson; Mrs Hordern; Col Palmer; Mr Ring; Miss Ring; Mr Symes; Mr Burgess; Dr Kelly; Miss Sutherland; Mrs Frost; Mr Hordern. Group portrait of Europeans in fancy dress. The following sitters are identified: Henderson, Gwyther, Mrs Henderson, Harrison, Corbett, Sayer, Faulconer. Group portrait of Europeans posed in front of a bamboo stockade. The majority are railway staff connected either with the construction of the Mu Valley State Railway or officers of the military police. The sitters are identified on the reverse of the print as follows: Chesney [Napier Elles Chesney, Assisitant Commissioner Military Police, Mogaung], Mrs McNair, Summers, Mrs Monk, McNair [J.W.A. McNair, Chief Storekeeper, Mu Valley State Railway], Mrs Cardew, Johnson, Stevenson, Duffin [C.H. Duffin, Assistant Settlement Officer, Sagaing], Eyre [Major Gervas Selwyn Eyre, Officiating Inspector General of Police], Walton [H.P. Walton, District Superintendent of Police, Myaungmya], Newham, Curry [W.E. Curry, Examiner of Accounts, Mu Valley State Railway], O'Donoghue [possibly C.J. O'Donoghue, District Superintendent of Police, Monywa], Monk [Hugh Lewin Monk], Crompton, Lloyd (Capt.)[Commissioner of Military Police, Lower Chindwin], C.V. Lloyd [Assistant Engineer, Mu Valley State Railway], Chill [Inspector of Plice, Monywa], Dawson [F.G.R. Dawson, Assistant Engineer, Mu Valley State Railway].[Albumen print, 147x101mm]. Group portrait of expedition members posed in front of a tent. Identifications supplied as follows: A.L. Irvine; G.L. Mallory; Lt-Col E.F. Norton; N.E. Odell; D. Macdonald; E.O. Shebbeare; Capt J.G. Bruce; J.H. Somervell; Bentley Beetham.[Photogravure, 253x203mm].]. Group portrait of family. Group portrait of family taking tea in the garden. Sitters identified as follows: King Vanes; Mrs Vanes; Daisy Vanes; J.A. Vanes; Bechy Vanes. Group portrait of female students, with Emily Overend (later Lorimer) on left, back row.[Mounted on board, 293x243mm]. Group portrait of figures, some garlanded seated on a sofa and chairs at an unidentified event.[Gelatin silver print, 206x142mm]. Group portrait of five employees of the East Indian Railway, gathered round an album of photographs. The sitters are M. Betagh, Edward Purser (Chief Engineer, NWP, Allahabad), C.C. Adley (Howrah Electric Telegraph), H. Cabry (Assistant Engineer, Allahabad) and (?)Ithell. The last name has not been clearly identified.[Albumen print, oval image, 152x122mm]. Group portrait of five men. Modern caption. Group portrait of footballers round a placard which reads: 'D.Coy, R.W.K. Regt.. Runners-up Peshawar Garrison Hot Weather League, 1913'. Group portrait of football team, Frank Ludlow seated left, middle row. Group portrait of football team, Frank Ludlow seated third from left. Group portrait of football team. 'At the back are three of our Sikkimese clerks. Middle row, left to right, Chapman, Dagg, Morgan, Nepean. Those in the front row are out Tibetan servants.' (Lhasa Mission Diary, 11 October to 4 November 1936, Appendix II, Explanation of photographs). See note at print 246.[Gelatin silver print, 158x107mm]. Group portrait of football team. 'Second from the right, middle row, is Yutok Depon (General). In the centre of the back row is Tendong (brother of the Shap� of that name) our guide from Gyantse, and an ex-pupil of Mr Ludlow's school. There is one Nepali (back left). Those wearing tarbooshes are Ladakis living in Lhasa.' (Lhasa Mission Diary, 11 October to 4 Novemer 1936, Appendix II, Explanation of photographs). 'Today we were challenged to a game of 'Soccer' by Lhasa United, ateam picked from Tibetan, Ladaki (Mohammedan) and Nepalese sides. They turned out in garish Harlequin-coloured shirts. After a good, clean, hard game the Mission Marmots (as we call ourselves) won by scoring the only goal of the day...We now practise nearly every day and are thinking of picking up a number of seven-a-side teams to keep ourselves in training.' (Lhasa Mission Diary, 20 October 1936).[Gelatin silver print, 159x107mm]. Group portrait of football team with cup. Group portrait of four, with Balding seated in the centre. Inscribed on reverse: 'Presented to Captain C.D. Balding Esq., by his most obediant and respectful sepoys. 1. W.U.A. Karwi. 2. M. Jan Khan. 3. M. Kishen.'[205x150mm]. Group portrait of four army officers, in uniforms, identified on reverse of print as follows: Major Gordon DAAG, R.I. Fusrs; Major Burton, 1st B.C.; Col. Hanna; Capt. Mein. Group portrait of four figures, seated on verandah of stone-built house. The sitters are identified as Steen, Badu La, Bailey, Le Tsen Pa. Group portrait of four officers, posed in front of the verandah of a house, with polo sticks. The sitters are identified as (Captain Thomas Hugh) Smith, (Lieutenant Frederick Charles Kendall) Mcmullen, Fatteh Khan, (Edward Mary Joseph) Molyneux.[Albumen print, 279x213mm]. Group portrait of frontier patrol, posed on rocky hillside.[Gelatin silver print, 103x62mm]. Group portrait of George Crawford Hogg and staff. Named as follows: 'Captain Fauldes, Genl Hogg, Mr Knight, Col Carrington, Mr Ricks, Mr Bayne, Mr Fern, Mr Reynolds, Mr Kirkpatrick'. Group portrait of government officers with the Chief Commissioner, including Walter Nightingale sitting on the left, and Edward Gait sitting on Ward's left. Group portrait of guests, photographed in front of wall, probably in the garden of the Agency house. The four seated figures are identified as: (left to right): Shigatse Agent from Lhasa; Badu La; Chinese Popon from Shigatse; brother of the Shigatse Agent. Behind them stand servants and attendants. Group portrait of guests, taken in front of the Residency, with sitters identified as follows: (back row): Pundit Mohan Lall; Capt Sri Kanth Mian Moti Singh; Mr Townsend; Miss K. Anderson; Colonel King-Hall; Mrs Rattigan; Mr Ducane Smyth; Col Mercer; Col Trower; Mrs Frost; Major-General F.W. Kitchener; Dr Hutchison; Miss Browne; Mrs Gillespie; Miss Douglas; Miss Douglas; Col Carnegie; Mrs Douglas; Dr Youngson; Miss Marmion; Vakil Manak Chand; (middle row): Miss Anderson; Mrs Muir Masson; Miss Fenton; Mrs Anderson; His Honour Sir Charles Rivaz; His Highness the Raja of Chamba; Mrs Dallas; Mrs Carnegie; Mrs Macintyre; (front row): Maj Robertson; Maj Dallas; Mr Donald; Mr Maclagan; Mr Blascheck; Mr Anderson; Mr Muir Masson; Capt Lawrence; Capt Long; Col Macintyre; Capt Gillespie. Group portrait of guests, taken in the open air and seated in front of a marquee with 'God save the King' emblazoned on the side. James Evan Lloyd-Williams, Indian Police, retired in September 1929. Group portrait of guests in costume. Group portrait of guests in front of one of the tents of the Sikkim camp. The following identifications are given beneath the print of the sitters in the front row: A.D.C. (not further identified), Mrs Burdillon (presumably Mary Wake Bourdillon, wife of J.A. Bourdillon), Raj Kumar (of Sikkim), Lt Governor of Bengal (Sir James Austin Bourdillon), Mrs Claude White (wife of John Claude White). John Claude White himself stands at the extreme right of the group, and was probably responsible for taking, or at least setting up the photograph.[Platinum print, 288x235mm]. Group portrait of Gurkha officers, with identifications beneath print. Group portrait of Gurkhas posed in front of tents. Group portrait of Harold and Margaret Wilberforce-Bell with Sir Ghanshyam Singh, Maharaja of Dhrangadhra, Rana Shri Mansisinhji, Dr Vakie, Mr Macnab. Group portrait of hockey team with cup.[Silver printing-out paper, 284x208mm]. Group portrait of hunt members, posed with hounds in front of a well. No identifications supplied, but Major-General Arthur Victor Trocke Wakeley can be identified from comparison with print 7, which is taken at the same location, probably on the same day.[Gelatin silver print, 292x216mm]. Group portrait of huntsmen, the pack of hounds to the left. Lieut-Colonel James S. Forbes is sitting on the right, wearing his topi. Group portrait of Indian administrators with members of the Indian Reform Committee, with the following sitters identified: (Top row): Malcolm Seton, Mr Marris. (Middle row): Sir George Lowndes, Sir William Duke, Sir James Du Boulay, Sir Claude Hill, Charles Roberts MP, Sir Sankaran Nair, Sir William Vincent, Sir William Meyer. (Front row): Sir Edward Gait, Sir James Meston, Lord Ronaldshay, Lord Willingdon, Edwin Samuel Montagu, Lord Chelmsford, Lord Pentland, General Sir Charles Monro, Sir Michael O'Dwyer, Lord Donoughmore, Sir Benjamin Robertson. The group appears to have been taken on the same occasion as print 49.[Sepia toned print, 282x198mm]. Group portrait of Indian and British officers, with some identifications written in ink on the reverse. The following sitters are named: (sitting, left to right), Lieutenant William Balfour Campbell, 113th Infantry; Colonel Edgar Rose Parry IMS; Lieutenant (?)Trehan, Indian Army Reserves; Major Lionel Schofield Fenton, 113th; Subadar Major Budha Singh, 113th; Captain Charles Dennis Baldwin, 113th; Captain Eric Henry Nevile Gill, Indian Army Reserve; (standing, left to right), Lieutenant (?)Banerji, IMS; Lieutenat Charles Arthur Sheridan Templeton, Indian Army Reserve; Lieutenant L.N.W. White, 113th; Lieutenant Pryor, Indian Army Reserve; Lieutenant Robertson, Indian Army Reserve.[Poor condition, with several folds, 248x208mm]. Group portrait of Indian and British officials, posed in front of an unidentified building on which hangs a banner reading 'Flourish Local Self Government'. Inscribed on reverse: 'To R.G. Davies Esqr I.C.S. From:- Sardar S.B. Ihorah President, D.L.B. Ahmednagar.' Group portrait of Indian boy scouts with four Europeans. Group portrait of Indian cavalrymen.[Albumen print, 136x97mm]. Group portrait of Indian officers.[Albumen print, 174x112mm]. Group portrait of Indian soldiers, in uniform, some mounted. Photograph possibly by Burke: the partially scratched-out signature in the negative may be his. Possibly photographed at Peshawar. Group portrait of Indian staff of the Quarter Master General's Office. Group portrait of instructors and students, in uniforms with rifles, in the academy grounds. Groups of students, seated crossed legged. Instructors standing on the left (print with overall spotting).[Albumen print, 300x384mm]. Group portrait of Intelligence Staff Officers. Group portrait of Jaipur sirdars with attendants standing behind.[Albumen print, 135x96mm]. Group portrait of Jenny Smyth, wife of Col G.M.C. Smyth, 1st European Cavalry, seated with their three children Methuen, David and George. Second copy neg at B.8732.[Albumen print]. Group portrait of judges, with following identifications supplied in pencil by Sir George Campbell: [standing]: Mr Justice Macpherson; Mr Justice Glover; Mr Justice Elphinstone Jackson; Mr Justice Phear; Mr Justice Steer; The Native Judge (name I forget) [Pandit Baboo Sumbhoonath]; Mr Justice Kemp; Mr Justice George Campbell; (the name escapes me); [seated]: Mr Justice Trevor; Mr Justice Bayley; Mr Justice Seton-Karr; Sir Barnes Peacock, Chief Justice; Mr Justice Norman; (name escapes me). The same captions have also been written in ink beneath the print by Charles Campbell in July 1903. Group portrait of Kandyan chiefs in formal dress, with two unidentified Europeans in the centre.[Platinum print, signed 'Skeen & Co 1159' in the negative, 277x225mm]. Group portrait of Lord and Lady Linlithgow, members of their family and staff, with the Maharaja of Benares, Aditya Narayan Singh.[Gelatin silver print, 198x143mm]. Group portrait of Lord and Lady Mountbatten, with Executive Council and wives, with identifications written around print border. The following sitters are identified: Sir Olaf Caroe, Sir Andrew Clow, Hastings Lionel Ismay (1st Baron Ismay), Sir Hugh Dow, Sir George Abell, Sir John Colville (1st Baron Clydesmuir), Sir Evan Jenkins, Sir Francis Mudie, Sir Muhammad Hydari, Lady Pamela Mountbatten, Lady Caroe, Lady Clow, Lady Dow, Sir Francis Verner Wylie, Lord and Lady Mountbatten, Lady Hydari, Lady Mudie.[Gelatin silver print, signed by Lord and Lady Mountbatten, 282x172mm]. Group portrait of Lord Elgin and staff at Bodh Gaya. Elgin flanked on left by Col Benjamin Franklin and on right by Colonel Algernon Durand. Henry Babington Smith, the Viceroy's Private Secretary, stands fourth from left. Remaining figures unidentified. Group portrait of Lord Lawrence and his Council, seated around a table. The figures in the group are:[Albumen print, 205x150mm]. Group portrait of Lord Linlithgow with council members. The only other figure identified is Sir Jagdish Prasad, a member of the Viceroy's Executive Council.[Gelatin silver print, 279x220mm]. Group portrait of Maharaja with Sir Louis Dane and staff. Sitters are identified on mount as follows: Captain Jim Russell; Ahmad Ali Khan, Nawab of Maler Kotla; Sir Louis Dane; Sir Edward Maclagan; Major Bayley. Figure seated on left and two Indian figures not identified. Group portrait of Major (later Sir) Robert Groves Sandeman with seven Beluchi chiefs. Precise location unknown. Second copy neg at B.21875. Group portrait of Major Armine Brereton Dew, Political Agent, Gilgit, with local rulers. The following sitters are identified: Mir of Ishkuman, Mir of Hunza, Raza Beg, Sifat Bahadur, Gor Rahman, M.J. of Yasin, Pakhtun Walli, Mir of Nagyr, Humayon Beg, Mir Baz, Dost Mahomed, Badshah, The Pir, Mahomed Rahim.[Silver printing-out paper, 138x83mm]. Group portrait of male and female labourers, holding baskets for shifting earth. Group portrait of medical staff.[Albumen print, 362x301mm]. Group portrait of members of an Eton house. Only two figures are specifically identified beneath the print: Curzon himself ('G.N.C.') and his younger brother Alfred Nathaniel Curzon ('A.N.C.'), although many appear in individual portraits in the album. Group portrait of members of an unidentified sporting team, the majority wearing blazers, cricket sweaters and whites. Sir James Sifton is seated third from left. Other sitters unidentified. Group portrait of members of Stein's Iranian escort. (Ancient Persis Map B1). Group portrait of members of the Bugti Jirga (council of tribal elders), with retainers standing behind. The sitters are identified by Skrine as (left to right): M. Miran Khan; Muhammad Akbar al-Shahtaz Khan (heir apparent); Nawab Mahrat Khan (Bugti chief); S.B. Sohrab Khan (brother); Jamal Khan Rahejas; (?)Dhari Baklesh Raheja; Shah Bahran Khotra. For a note on the history and administration of the Marri-Bugti Country, see 'The Imperial Gazetteer of India', vol. XVII, pp. 210-213.[Gelatin silver print, 212x146mm]. Group portrait of members of the Burmese Mission to Simla, with Robert Hope Pilcher, Bengal Civil Service. Similar to group in print 214, but this print also includes other Burmese staff with the mission. See notes at print 214 and 215. Group portrait of members of the Sadr Diwani for the NWP, sitting round a table, left to right: Alexander Ross, Martin Gubbins, James Simson, Robert Morgan, James Lean and Edward Wylly. Group portrait of men in fancy dress, wearing stovepipe hats, posed in front of tents. A note on the reverse states 'Sappers, except Dawson and Lacey, and supplies the following identifications: (back row, left to right), A.P.H. Giblin, Maclochlan, Henniker, Dawson, Martel, Loch, A.R. Hume; (seated) Lacey, Kiggil, Clarke; (on ground), Major Duckworth, Colonel.[Gelatin silver print, 101x77mm]. Group portrait of men on parade in Mandalay. Faded print. Uncredited, but probably photographed by Felice Beato.[Albumen print, 271x205mm]. Group portrait of military band. Print in poorish condition, with overall spotting.[Albumen print, 379x308mm]. Group portrait of military officers, identified as follows: Captain F. Macartney, Major W.W. Muir, Captain A.B.H. Bridges, Captain J.M. Troutbeck, Major-General T.E. Scott, General Monro, Lieutenant-Colonel D. Deane. For a similar portrait group, evidently taken on the same occasion, see Mss Eur D783/9 (40).[Gelatin silver print, 284x228mm]. Group portrait of military officers, no identifications supplied. Group portrait of Mir Khudadad Khan of Kalat with officials. Probably photographed by Burke at Delhi during the Imperial Assemblage.[Woodburytype, 172x136mm]. Group portrait of missionaries. Group portrait of mission member and Tibetans.[Gelatin silver print, 92x141mm]. Group portrait of monks, photographed in the open air. Group portrait of mounted cavalry officers, with Suleyman Pasha in the foreground.[Albumen print, 373x309mm]. Group portrait of mounted polo players, identified beneath print as follows: Hathaway (22nd Punjabis); Harold Wilberforce-Bell; Keane (Royal Artillery); Astley Cooper (S&T Corps). Group portrait of Mr Gordon and pupils posed in front of school buildings. Group portrait of Mutiny veterans. Group portrait of nurses, with Lady Monro seated in the centre.[Silver printing-out paper, 282x206mm]. Group portrait of officer cadets.[Silver printing-out paper, 240x187mm]. Group portrait of officer cadets.[Silver printing-out paper, 240x188mm]. Group portrait of officer cadets. The position of Francis Clifton Muspratt is marked on the back of the mount.[Albumen print, 200x125mm]. Group portrait of officers, identified as follows: J.R. Pigott, Colonel Gwathin AAG, C.S. Cobb, General Hammond, Walter Binny Douglas.[Silver printing-out paper, 152x105mm]. Group portrait of officers, identified beneath print as follows: (standing, left to right): H.E. Stanton (Royal Artillery, Intelligence Officer), Estridge (2nd Queen's), James George Scott, Captain Hugh Milbourne Jackson (Royal Engineers), Charles Nathaniel Gregg (Apothecary), Surgeon N. Manders, Lieutenant Charles William O'Bryen (27th Bengal Infantry), Lieutenant William Henry Millar (27th Bengal Infantry), Subadhar Major Desa Singh (27th Bengal Infantry); (seated): Warden (27th Bengal Infantry, Transport Officer), Colonel Robert Arthur Swetenham (27th Bengal Infantry), Arthur Hedding Hildebrand (Political Officer, Southern Shan States), Major Henry Metcalfe Rose (27th Bengal Infantry), Johnston Shearer (Indian Medical Service). Probably photographed at Fort Stedman (Yaunghwe).[Albumen print, 270x206mm]. Group portrait of officers, identified in pencil on the reverse as follows: Major George Cumine Strahan BLACK; Major Thomas Williams LIGHTFOOT; Major Alfred Colyer RALPH; Captain Hugh Reginald DUTTON; Major T.A. DAVIS; Colonel Hugh David MCINTYRE; Captain Howard Challoner CUTLER; Major Stanley Lush RALPH; Major Arundel Sinclair BEGBIE; Major Frank William DANIELL; Lieutenant Claude Butler GOSSET; Major Richard John CLARK; Captain Reginald PHILBRICK; Major Walter Binny DOUGLAS.[Silver printing-out paper, 292x205mm]. Group portrait of officers, in civilian clothes, identified as follows: Macalaster (KOSB), Sutherland (Black Watch), Capt. Wood (Border Regiment), H.O. Spence (CIH), Terry (2nd Queen's), Capt. Smithett (15th BL), Capt. Taylor (DAAG I), Walter Binny Douglas, Capt. Obbard (10th Jats).[Silver printing-out paper, 293x210mm]. Group portrait of officers, mounted on horseback on the parade ground. The Commandant, Ali Pasha (see also print 18), is at the head of the group.[Albumen print, 384x312mm]. Group portrait of officers, posed in front of an unidentified building. Suleyman Pasha, Commandant, standing in centre of front row.[Albumen print, 373x306mm]. Group portrait of officers, posed on verandah, probably of regimental mess. The sitters are identified as follows: Lieutenant Alleyne; Lieutenant Churcher; Lieutenant Terry; Lieutenant Lannowe; Captain Pickard; Captain Mackworth; Major Robson; Major Addington; Lieutenant Tringham; Lieutenant Whetham; Lieutenant and Quartermaster Grubb; Captain Glasgow (Adjutant); Colonel J. Stratford-Collins; Captain G. Neale; Captain Pell; Lieutenant Bacon; Lieutenant Creek; Lieutenant Coe; Lieutenant Wright; Lieutenant Koebel.[Silver printing-out paper, signed 'T. Winter' in the negative, 294x212mm]. Group portrait of officers, the following identified by autographs on the album page: Lieutenant Robert Cooks Gilchrist, Captain Frank Barton Hill, Lieutenat William Archibald Smail Walker, Lieutenant John Charles Pulleine Craster, Colonel George Patrick Ranken, Captain William Henry Millar.[Albumen print, 255x146mm]. Group portrait of officers, with General Ali Pasha in centre of front row.[Albumen print, 392x308mm]. Group portrait of officers, with handwritten key on print surface supplying identifications as follows: [285x213mm]. Group portrait of officers, with Indian soldiers behind. The only figure identified is Walter Binny Douglas, seated second from left. Faded print.[Albumen print, 260x200mm]. Group portrait of officers.[Albumen print, 384x306mm]. Group portrait of officers. Group portrait of officers. Print in poor condition, with overall spotting.[Albumen print, 384x302mm]. Group portrait of officers. Print in poorish condition, with overall spotting.[Albumen print, 376x313mm]. Group portrait of officers. Print in poorish condition, with overall spotting.[Albumen print, 378x307mm]. Group portrait of officers. Print in poorish condition, with overall spotting.[Albumen print, 378x309mm]. Group portrait of officers. Print in poorish condition, with overall spotting.[Albumen print, 385x310mm]. Group portrait of officers. Group portrait of officers and men, with models of bridges arranged in the foreground. The only two identified figures are Lieut. Col. L.V. Bond (centre) and L.O. Clark (third from right). Group portrait of officers and NCOs, location unknown, but with letterpress label on mount giving identification of sitters as follows: (front row): B/M Smith; Lt.-Col. P.A.Easton O.B.E.; R.S.M. G.A. Weeks, R.E.; Col. L.O. Clark, O.B.E., Comdt.; Maj. W. Westerman, R.E.; Capt. J.E.B. Evans, R.E.; S.M.I. Archer, R.E.; (back row): C.S.M. Holderness; Q.M.S.I. Layzell; C.S.M. Cheshire; R.Q.M.S. Davies; Q.M.S.I. Brown; C.S.M. Barton; R.Q.M.S. Neath; C.S.M. Crumpler. Group portrait of officers arranged behind a row of tables. With key identifying figures as follows: 1. Capt P.C. Anderson; 2. Capt C.McW. Mercer; 3. Lieut C.S.S. Taylor; 4. Lieut C.A.M. Warde; 5. Lieut E.C.W. Raynsford; 6. Lieut E.J. De Latour; 7. Lieut H.S. Hutchinson; 8. Asst Surg J. Browne; 9. Lieut E.F. Chapman; 10. Capt J.R. Sladen; 11. Col F. Gaitskell CB; 12.Capt F.W. Stubbs; 13. Capt J.F. Raper; 14. Lieut E.T. Hume; 15. Surg Maj C.B. Chalmers; 16. Lieut H. Girardot; 17. Capt S.C. Woodcock; 18. J. Field Esq. VS [Veterinary Surgeon]. Signed and dated 'C.A.M. Warde 8/4/62' in the negative. Meean Meer was the former name for the Lahore Cantonment. Second copy neg at B.8683.[Albumen print]. Group portrait of officers in civilian dress, identified beneath print as: Captain Willoughby, Captain Kempson, Captain Browning, Watson-Smyth, Wilson, Captain MacWatters I.M.S., Major Hitchins, Captain Marshall, Captain Whitehead, Walter Binny Douglas, Pope, Major Budd, Captain Loch, Lieutenant Wace.[Silver printing-out paper, 289x213mm]. Group portrait of officers in uniform.Seven of the ten sitters are identified, as follows: H.P. Babbage (Henry Provost Babbage), Sim (Charles Alexander Sim), Alick Taylor (?General Sir Alexander Taylor), A.A. Roberts (Arthur Austin Roberts, commanded Lahore Volunteer Corps), J. Burn (?James Burn, 40th Bengal Native Infantry), T.D. Forsyth (Sir Thomas Douglas Forsyth), H.E. Perkins (Henry Edmund Perkins).[Albumen print, 210x168mm]. Group portrait of officers of Gardner's Horse, posed on the steps of an unidentified building. Only James Archibald Douglas is identified (back row, on right). Group portrait of officers of the 30th (Punjab) Bengal Infantry, possibly photographed at Multan. Only Francis Clifton Muspratt and Colonel Henry Warde Webster (1838-1894) are identified on the mount.[Albumen print, 365x218mm]. Group portrait of officers of the 4th Bengal Native Infantry, somewhat faded. The sitters are identified as Dr Williams [John Williams (1820-1878), IMS 1847-70], John [Younghusband], Capt Stafford [John Francis Stafford], Col. James Young, Capt Cuming [Archibald Cumine].[Albumen print, 233x195mm]. Group portrait of officers of the 4th Dragoon Guards and Bengal Lancers, identified as follows: O'Neale; Sergeant Gosling; Lt Muspratt; Captain Cant (Riding Master, 4th D.G.); Captain Belk (Adjutant, 4th D.G.); Lieutenant Keighley (18th B.L.); Lieutenant Bannerman (15th B.L.); Lieutenant Fetherstonhaugh (13th B.L.); Lieutenant Hogg (13th B.L.); Lieutenant Webber (2nd B.L.).Photograph uncredited, but probably by T. Winter.[Silver printing-out paper, 297x209mm]. Group portrait of officers of the 8th Rajputs, identified as follows: Captain T.W. Lightfoot, Walter Binney Douglas, H.N.F. MacDonnell, H.C. Cutler, Captain A.C. Ralph, Major W.J. Newell, Captain G.M. Evans.[Silver printing-out paper, 205x150mm]. Group portrait of officers of the anti-slavery Triangle Expedition, identified on back of print as follows: Standing (left to right): Captain Deane, Captain Alleyn Cardwell Moore, Percy Mitchell Russell Leonard, Joseph Terence Owen Barnard, Captain John Francis Bowerman, Major Alfred Lethbridge; seated (left to right): Captain Charles James Stewart Fraser, Captain Louis Wansburgh Guiton, Arthur William Porter, Captain Terence Seymour Conner, Captain Robert Cook.[Gelatin silver print, 131x81mm]. Group portrait of officers of the Bengal Engineers gathered round a small table. The figure are identified on the reverse of the print as follows: Herschel, Thuillier, Westmorland [Westmoreland], Strachan, Riddell, Harrison, Robinson, Conway-Gordon, Glover, Turnbull, Bagge, Walker (Bombay), Campbell. Group portrait of officers of the Madras Fusiliers. The blue caps of all the sitters and red tunic of one man have been lightly, if somewhat crudely hand-coloured.[Albumen print, 299x237mm]. Group portrait of officers of the Oxfordshire Light Infantry, identified beneath the print as: H.C. Colomb, Colonel [?]Clark, Captain Triscott, Captain Mockler, W.R. Gray, Lieutenant Childers, Lieutenant Wood. Presumably one of the photographs referred to in Scott's diary for 10 December: 'Views of mily. support in morning' (OIOC Mss Eur F278/4 f. 98).[Albumen print, 234x187mm]. Group portrait of officers posed in a front of an unidentified bungalow. The majority hold pig-sticking lances. No identifications supplied. Oval image. Group portrait of officers posed outside an unidentified house at Simla. Sir Charles Aitchison and members of his family are in the centre of the group. Some sitters hold tennis rackets. Group portrait of office staff, posed in front of the west flat of the Chota Chatta Manzil. No identifications supplied. Charles Frederick Hunter is seated second from left.[Silver printing-out paper, 290x213mm]. Group portrait of officials, with servants standing behind. The figures are identified as follows: (back row, left to right): Sir James Scott, Arthur Hedding Hildebrand (Burma Commission), Captain Valens Congreve Tonnochy (Commanadant of Military Police, Fort Stedman), Roger T. Darwin (apothecary), C.H. Barnard (Burma Commission), W.E. Muntz (P.W.D.), G.C.B. Stirling (Burma Commission).[Albumen print, 175x117mm]. Group portrait of officials. From the arrangement of the carpets, this photograph appears to have been taken on the same occasion as prints 31-32. Group portrait of officials. Group portrait of party posed at the edge of a tennis court, many holding racquets. The sitters are identified beneath the print as follows: Miss Fenton, Mrs H[arvey], Mrs L. Taylor, Mrs Smyth, Col L. Taylor, Col Kitchener, Dr Stevenson, Rev Wandford [?], Mrs Shakespear, Capt Cane, Mrs Ewart, Miss Ewart, Mrs Stevenson, Miss Ewart, Miss MacFarlane, Col heathcote, Capt Payne, Mrs Taylor, Mrs Hesketh, Capt Deasy, Lt L. J. Boles [?] 11th Reg. Group portrait of pipers. Group portrait of players. Main figures identified beneath print as follows: Bailey, Rawling, Walker, Mir Afzal, Stewart, Cassells. Group portrait of Police Football Team, with Captain Alexander James Douglas Thomson seated centre.[207x153mm]. Group portrait of police officer and Kadars (Sindh local magistrates). Group portrait of police officers and wives, in civilian dress. The accompanying sheet provides the following identifications: front row: ---, G.A. Cocks, F.W. Toms, ---, N.L.K. Wilson, T.F. Cooke, W. Beatty, W.L. Tomkins, ---, Philip Vickery, ---, ---; second row: ---, H.V.B. Hasen Scott, ---, ---, Rundle[?], Lady Dennys, S.E. Wallace, Lady Lee French, Sir Edward Lee French, Mrs Cocks, Sir Hector Dennys, ---, A.W. Stewart, Mrs Stead; third row: ---, J. Slattery, [six unidentified], Nancy Short (n�e Lee French), V. Short, Mrs Glascock, ---, ---, Mrs Stead's sister, ---, D. Slessor, B.B. Howell; back row: V.P.T. Vivian, L.C. Glascock, ---, A.W. Mercer, ---, ---, M. Wall, ---, Charles Stead, ---, ---, H. Lillie, Eric Handyson, P. Orde, C. Macpherson, ---, F.C. Isemonger, Mrs Tomkins. Group portrait of police officers with Sir Stanley Jackson, Governor of Bengal. A key on the back of the print identifies the sitters as follows: Lancelot Neville Bavin(?), T.J.A. Clarke(?), Eric Hodson, Thomas Josepha Alexander Craig, Sir Stanley Jackson, Lady Jackson, Lieutenant Colonel Dallas Smith, G.F. Manooch(?), Zakir Hussein, Philip Desmond Lorne Kelly, Cyril John Minister, Dharamadas Bhatracharji, Edwin Beaumont Ellison, Arthur William Shallow(?), John Harry Christopher Cowgill, Pershotam Lal Mehta(?).[Gelatin silver print (modern copy), 292x228mm]. Group portrait of polo players, identified beneath print as: Lt Hogg, Taylor (clerk), Capt. Steen, Barry (telegraph), Sergt. Cooke (telegraph), Bailey in centre. The five Tibetans standing behind the main group are identified as Dawa Gyalpo, Nurgye, Purbu Tserung, Yishi and Orili. Group portrait of polo teams, posed with cup. The following sitters have signed their names beneath the photograph: Lieutenant William Francis Boucher Edwards, [?]C.H. Davies, Lieutenant Robert Cooks Gilchrist, Captain Cecil Herbert Peterson, Lieutenant John Charles Pulleine Craster, Lieutenant Frederick Skipwith, Major Skipton Hill Climo.[Silver printing-out paper, 286x144mm]. Group portrait of porters. Group portrait of Public Works Department engineers. Group portrait of Public Works Department staff. The sitters are identified as follows: G. Mollison, J. Ross, Li Sang, Dougherty, Carroll, T.M. Xavier, E.M. Hazeland, A.H. Hollingsworth, W. Chathan, Hon. T.A. Cooper (Director of Public Works), J.R. Crook, R.T. Drury, W. Bamsey, D.Wood, A Took, A Yeung, Sin Qua.[Albumen print, 269x215mm]. Group portrait of pupils. Group portrait of pupils. Group portrait of pupils and instructor. Group portrait of railway engineers with Sir John Anderson. Harold von Lintzgy, the engineer and original owner of this album, is the figure standing 4th from the left.[Gelatin silver print, 243x149mm]. Group portrait of Raja, with attendants and Stein's dog Dash, in front of the castle walls. Innermost Asia, vol. 1, fig. 25: 'Raja Pakhtun Wali's castle at Jaglot, Tangir. Mehtarjao Shah Alam seated in foreground.' Group portrait of regiment on parade. The Commandant, General Ethem Pasha, is in the left foreground.[Albumen print, 380x310mm]. Group portrait of rifle shooting team, with Captain C.L.L. Stokes seated centre.[155x112mm]. Group portrait of Robert Shaw, his companion on the journey Dr John Scully (1846-1912), and servants and guides. The note beneath the print reads: 'Seated on the ground to the left is the 'Executioner'! This had been his vocation. Robert engaged him as a teacher of languages.Standing behind Robert is the 'Duffadar' or non-commissioned officer of the Guides. A guard of 9 men of the Guides were sent up with Robert. Dr Scully sitting at the table, who went with Robert.The two men standing behind are the 2 favorite servants Laino and Chumaroo.Taschee, the Tibetan guide sits in front. He went with Robert all his journies and was finally left at Leh, where his home was. 'The great Taschi took an advance of pay today upon leaving Ladakh. He came back at dinner time chuckling as if he had done something clever and mischievous sayong 'I haven't got a single rupee left now! I have spent all on this necklace of big turquoises for my wives!' That is his way of providing for them for the winter. Taschi always asks if I have sent his salaa to the mem sahib' (letter of Novr. 1876).Kootubudeen. The moonshee who Robert took up with him this last journey.'[Albumen, 228x178mm]. Group portrait of Royal and Indian Engineers, in civilian dress, with figures identified beneath print as follows: 'G. Skipwith (IE), C. Harrison (IE), H. Crichton (IE), J.H. R. Cruikshank (IE), Slacke (RE), Ardagh (RE), F. Home (IE), P. Marindin (IE), W. Campbell (IE), Capt Scott (RE), Harlett (RE), R.S. Pole (RE), Williams (RE), G. Oldham (RE), Johnstone (RE), H. Jackson (IE), B. Lovett (IE), E. Trevor (IE), H.Watson (IE), R. Thompson (IE). Group portrait of rugby team. Muspratt is seated 1st left in the middle row.[Silver printing-out paper, 239x190mm]. Group portrait of rulers with retainers. Muhammad Nazim Khan, Mir of Hunza, is seated fourth from left; Sikandar Khan, Chief of Hunza-Nagar, is seated sixth from from left.[Silver printing-out paper, 203x124mm.] Group portrait of Sawbwas and Myosas from the Shan and Karen States of Upper Burma, dressed in ceremonial attire at the Delhi Durbar of 1903. In the front row are seated the Sawbwas of the following Southern Shan States: Mong Pawn, Keng Tung, Mong Nai and Yaunghwe. Standing behind are rulers of three Karen states: the Myosa of Hsamongham, the Sawbwa of South Hsenwi and the Sawbwa of Gantarawadi. The key to this photograph identifies Sawlawi, the Gantarawadi Sawbwa, as the elderly figure on the right. This print is also reproduced in G.E. Mitton's 'Scott of the Shan Hills' (London, 1936), facing p. 312, with the Gantarawadi Sawbwa incorrectly identified. See also Photo 430/78 (73), where the personal names of the chiefs are given.[Albumen print]. Group portrait of Sawbwa with wives and children, posed on verandah. Sow Hkun Leng (c.1849-1895), succeeded to the Sawbwaship of Mong Pan in 1886. Scott assesses his character as follows: 'Shrewd and certainly loyal. His father was a Burmese Myook who married Kun Tun U, the Sawbwa's sister Nang Mon. Kun Hlaing's succession was therefore due not to right but to the disturbed nature of the times. He is treated as, and feels himself, an outsider, and is therefore a little awkward and abashed amonghis brother chiefs. He is, however, improving and has a good deal of energy and much trade instinct' (OIOC Mss Eur F278/66 p. 9). For a full account of his period of rule, see J.G. Scott, 'Gazetteer of Upper Burma and the Shan States' (Rangoon, 1901), part 2, vol. 2, pp. 457-459.[Albumen print, 240x192mm]. Group portrait of Sawlawi with family and retainers. A similar group at Photo 92/6 (11). Probably photographed at Loikaw. Group portrait of senior governors with the Viceroy Lord Irwin. The sitters are as follows (left to right): Central Provinces (Sir Montagu Butler); Burma (Sir Charles Alexander Innes); Madras (Sir George Frederick Stanley); Punjab (Sir George Fitzharvey de Montmorency); Bombay (Sir Frederick Hugh Sykes); Bengal (Acting Governor); United Provinces (William Malcom Hailey, 1st Baron Hailey of Shahpur); Bihar and Orissa (Sir Hugh Lansdown Stephenson); Assam (Sir Egbert Laurie Lucas Hammond).[182x132mm]. Group portrait of servants in the garden of the Jhansi bungalow. Caption note reads: 'Servants at Jhansi. Back row: Chokidar (night watchman), 2 office chuprassies (messengers). Middle row: sweeper, cook, bearer, mali (gardener). Sitting: garden coolie, bhisti (water carrier) and Masalchi, who cleaned the cook's pots and pans. All but the cook were under the head bearer. One chuprassi looked after, but did not drive, the car.' Modern print.[Gelatin silver print, 127x80mm]. Group portrait of seven figures, identified as follows on the reverse: Bowing [?Bowring], Bowie, Hills, Blane, Beale, Stewart, Baring. Group portrait of seven officers of the Sylhet regiment, posed against trees. Probably photographed at Dewangiri during the Bhutan Campaign. The regiment later became the 8th Gurkha Rifles. Group portrait of seven youths, posed with agricultural implements. Group portrait of Shan Sawbwas.[Albumen print, 168x120mm]. Group portrait of Shaw, in local dress, surrounded by his guides and servants, taken on his return from his first journey to Yarkund and Kashgar of 1868-69. The other sitters are identified as Taschee (Tibetan guide), unnamed 'Moonshee' (probably Kutubuddin, see print 12), Chumarou (servant), Laino (servant), Sultag. 'Robert wears the velvet and sable head dress given by the Ataligh Ghazee.' Photograph reproduced in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 55.[Albumen print, 226x178mm]. Group portrait of Sir Bertram Glancy with engineers and contractors, posed on the new road. Individuals are identified as follows: (left to right): Bh. Balmokand (contractor); Diwan Rajpal (contractor); Malik Kauri Lal (contractor); Mr Abdulk Aziz MBE (Executive Engineer); Reginald Trevor-Jones (Chief Engineers, PWD, B. & R.); Sir Bertram Glancy (Governor of the Punjab); H.A. Harris (Superintending Engineer); S. Lal Singh (S.D.O.); M. Abdul Aziz (overseer); Bh. Shiv Das (contractor); Ch. Abdul Karim (contractor); Diwan Ganpat Rai (contractor). Group portrait of Sir Charles Aitchison, his daughter Tina and staff. Caption and dating taken from duplicate at Photo 355/2 (24), which also identifies all the sitters. This print is of better quality and in better condition. Group portrait of sirdars in formal dress. Group portrait of six men, location unknown. Group portrait of staff, Reginald Trevor-Jones, Principal of the Government School of Engineering, seated in the centre. Group portrait of staff and pupils. Group portrait of staff and pupils. Group portrait of staff and students, in uniforms and with rifles, in the academy's courtyard. A group of students standing at the back and another group in the foreground, in firing position. Side view of the academy entrance (print with slight spotting).[Albumen print, 309x387]. Group portrait of staff and their families outside the Bell Institute. Group portrait of staff gathered in front of house. The functions of the figures are identified on the back of the print as follows: syce [groom], chaprasee [messanger], 2nd kitmagar [server at table], sweeper, Head Bearer, Marhalchee [?], head kitmagar, housekeeper, cook's mate, dhobi [laundryman], chowkidar [watchman], grasscutter, 2nd mali [gardener], head mali, bhistee [water carrier].[Printing-out paper, 207x145mm]. Group portrait of staff members of Steel Bros. and Co., photographed in front of a small pagoda at an unidentified location. The sitters are identified as follows: E.A.F. Robertson, J.H. Corrie, D. St. G. McLellan, R.M. Ballingall, E.H. Quinn, Henry C. Hinchcliffe, J.E.S. Nesbit, H. Walker, F.A. Wrigley. Another copy at print 122.[Gelatin silver print, 345x251mm]. Group portrait of staff of the Eastern Bengal State Railway's Locomotive & Carriage Department, including H.H. Spalding. Group portrait of state elephants with various court officials and servants.[Albumen print, 136x97mm]. Group portrait of Steel Bros. and Co. employees.[98x75mm]. Group portrait of Steel Bros and Co. employees. The sitters are identified as follows: M. Ballingall, J.H. Corrie, A.E.F. Robertson, F.A. Wrigley, H.C. Hinchcliffe, D. St. G. McLellan, J.E.S. Nesbit, E.H. Quinn, M.D. Parsons.[189x137mm]. Group portrait of stone inlayers. Group portrait of students, in uniforms, in the Academy inner courtyard. Some students seated and some standing (print with slight spotting).[Albumen print, 306x376mm]. Group portrait of students, in uniforms. Some standing next to a mobile artillery and some seated on the carrier.[Albumen print, 306x381mm]. Group portrait of students and instructors, in uniforms, in the academy courtyard. Students arranged in different groups. The group in the middle and at the back, on horseback. The group of students in the foreground performing different exercises.[Albumen print, 300x383mm]. Group portrait of students and instructors, in uniforms and with rifles, next to the adacemy entrance. Students arranged in different groups, in different firing positions.[Albumen print, 298x382mm]. Group portrait of students and instructors, in uniforms and with rifles. Instructors standing among the students in the academy's courtyard. Students in different groups, some sitting and some lying on the ground, ready in firing position (print with overall spotting).[Albumen print, 310x385mm]. Group portrait of students and instructors, in uniforms with rifles. Students arranged in different groups, in front of the academy building, some ready in firing position and some waiting (print with overall spotting).[Albumen print, 300x381mm]. Group portrait of students and instructors, on horseback, all in uniforms and with swords, within the Academy grounds (print with overall spotting).[Albumen print, 302x383mm]. Group portrait of students and staff, in uniforms, in front of a building. Skeletons and a cadaver in the middle foreground, on a table. Some students in the front right holding various medical instruments and other students posing with books.[Albumen print, 242x328mm]. Group portrait of students and staff of the Mekteb-i Sultani, in uniforms. Some seated and some standing.[Albumen print, 243x313mm]. Group portrait of Tao (elderly man), his nephew (in white, wearing sunglasses) and George Couchman, with Chinese soldiers on the right and Indian soldiers on the left. Group portrait of team, Frank Ludlow seated on left. Group portrait of team, Frank Ludlow seated second from right. Group portrait of team, Frank Ludlow standing third from left. Group portrait of team, with cup. Parsons seated at right. Group portrait of team.[Gelatin silver print, 287x216mm]. Group portrait of teams, Frank Ludlow seated at right. Group portrait of teams, Frank Ludlow standing at right, back row. Group portrait of teams, Frank Ludlow standing third right, back row. Group portrait of teams, seated on pavilion steps. Group portrait of teams, with typescript label identifying sitters as follows: Tamang, J. Christian, Thumbahadur, Moniral, Nahal Singh, C.P. Thappa, C.H. Bull, Judabir, Buxman, Tashi, Bhakta Bahadur, W.H. Bemrose, Mr Tashering.[Gelatin silver print, 204x152mm]. Group portrait of teams. Group portrait of the band of the Connaught Rangers. Group portrait of the Butlers, with Lal Jahawir Singh, Raja of Sarangarh, and other, posed with bag of geese laid out on the ground in front of them.[Gelatin silver print, 293x229mm]. Group portrait of the chief of Mong Hsu and some of his family, with retainers holding umbrellas over them. The Myosa seen here is presumably Hkun Maha, eldest son of a father of the same name, who succeeded in 1893. Group portrait of the four men, identified as: W.T. Prew (right), H. Greenaway (centre), G.H. Baker (seated), W. Hanbrook (left). A pencilled note on the reverse of the mount reads: 'Library attendants on the 'leads' before the building of the rooms now occupied by the Audit'. Group portrait of the four sitters, gathered round a table in front of a house. For another copy of this photograph, see OIOC Photo 139/1 (10).[Albumen print, 234x187mm]. Group portrait of the Haileybury College cricket XI.[Albumen print, 197x146mm]. Group portrait of the Khan of Khelat, his son and officials. Group portrait of the Mehmandars, the officials sent to escort the British mission to Kabul and to attend to their needs en route.[Gelatin silver print, 135x80mm]. Group portrait of the minister with female relatives. See also print 66. Group portrait of the Mir of Hunza, Muhammad Nazim Khan, and his sons and retainers, posed on a terrace, probably at the palace at Baltit.[Gelatin silver print, mounted on card, 286x214mm]. Group portrait of the Myosa and family seated beneath ceremonial umbrellas. The Myosa and his wife are seated on llarge wooden thrones. Group portrait of the Raja Sri Singh (d. 1870) of Chamba and retinue, posed in the open air.[Albumen print, 198x137mm]. Group portrait of the Royal Engineers N.C.O.s attached to the survey, posed in the same location as the preceding print, with a theodilite placed in the centre of the group. With numbered key beneath the print identifying the sitters. Group portrait of the Sawbwa and family, posed in front of a textile backdrop, with the Sawbwa's haw or palace in the background. The figure seen here is Hkun Hsuk (b. 1863), who became Sawbwa of Lawksawk in 1900. Group portrait of the Sawbwa of Mong Pawn and his family. Group portrait of the Sawbwa with wife and children. Group portrait of the Shores with their domestic servants. Group portrait of the three member of the Council of Regency seated round a table with James Robert Dunlop Smith. They are named as: Khalifa Saiyed Mohammed Husaini, Sirdar Gurmukh Singh (President), and Lala Bhagwan Das. Group portrait of the three men, seated in the open air, with Henderson in the centre, Chung on right and clerk on left. Group portrait of the three officials and retainers. Very poor quality print. Group portrait of the touring English side. Group portrait of the two teams. Group portrait of the Viceroy's Council, arranged round a table. The sitters are: (secretaries, standing behind, left to right): Edward Harbourd Lushington, Financial Secretary; Colonel (later Sir) Henry Norman, Military Secretary; Colonel (later Sir) Henry Durand, Foreign Secretary; Mr (later Sir) Edward Bayley, Home Secretary; Colonel (later Sir) Richard Strachey, Public Works Secretary. (Members of Council, seated, left to right): George Noble Taylor; Sir Charles Trevelyan; Sir Hugh Henry Rose (Lord Strathnairn); Sir John Lawrence (Lord Lawrence); Sir Robert Napier (Lord Napier of Magdala); Mr (later Sir) Henry James Sumner Maine; Mr (later Sir) Willaim Grey.For other copies of this print see: Photo 25 (41), Photo 132 (27), Photo 782 (13), Photo 797 (77), Mss Eur G38/2 (LXIIIb). Photo 793 (56) shows a similarly posed group, evidently taken on the same occasion. Dates between 1864 and 1866 are given on various prints. Photo 797 (77) gives the location as Simla. Group portrait of the Viceroy's entourage, Lord and Lady Elgin seated at centre. The Bishop of Calcutta, the Right Reverend Edward Ralph Johnson, is seated to the left of the Viceroy. Another group, taken on the same occasion, at Photo 515/2 (20). Group portrait of the Viceroy Lord Elgin, family and official entourage in camp at Buxar during the spring tour of 1896. The Bishop of Calcutta, the Right Reverend Edward Ralph Johnson, is seated to the left of the Viceroy. For another photograph taken on the same occasion, see Photo 15/1 (38). Group portrait of the Viceroy Lord Hardinge and official party at the opening of the Upper Jhelum Canal.[Printing-out paper, 292x207mm]. Group portrait of the Viceroy Lord Reading, Lady Reading and uniformed staff posed on the verandah of an unidentified building (? at Simla). Group portrait of the Viceroy Lord Reading, Lady Reading and viceregal staff (dressed in lounge suits). Probably taken at Viceregal Lodge, Simla. Group portrait of three figures. Group portrait of three junior officers posed in front of a cannon. The figures are identified as follows: Lieut Albert Berwick Cunningham, Lieut H.S. Clarke, Lieut H.L. Mackenzie.[Albumen print]. Group portrait of three Royal Engineers officers: (General Sir) Wilbraham Oates Lennox V.C., (Sir) Edward Stanton and one unidentified figure.[Albumen print, 114x138mm]. Group portrait of Tibetan officials and others. The Dzong-pons were the officials in charge of the fort and surrounding district. Group portrait of troop on horseback.[Albumen print, 375x309mm]. Group portrait of two teams, in a line, on horseback. The figures are identified beneath the print as Karma, Ali Askar, Subadar Mir Afzal, Stewart, Walker, Purbu (?)Talling, Sher Gul, Bailey Group portrait of two teams, including the touring English XI. Group portrait of unidentified Europeans, posed on a verandah or inside a house. Poor quality print.[Albume print, 238x176mm]. Group portrait of unidentified sitters.[Albumen print, 152x110mm]. Group portrait of unidentified sitters in evening dress.[Gelatin silver print, 264x175mm]. Group portrait of uniformed armed guards. Group portrait of uniformed cadets, identified beneath print as follows: C. Sim, B. Goldie, F. Major, W. Warren, S. Jacob, G. Strahan, J. Taylor, A. Helme, W. Pierson, H. Doveton, F. Meiklejohn, C. Straker, H. Hawkins, J. Colquohoun, W. Forbes, F. Collis. Duplicate at Photo 799 (61). Group portrait of uniformed cadets, identified beneath print as follows: W. [for J.] Waterhouse, R. Riddell, G. Hancock, E. Marryat, C. Baldwin, J. Pollock, T. Walker, A. Elliott, M. Macartney, J. Morant, J. Lee, H. Mackenzie, F. Spragge, W. Heaviside, A. Edgcome, R. Bazett. Another photograph of this group is at Photo 799 (62). Group portrait of uniformed cadets, with key beneath print identifying figures as follows: R.W. Smith, F. Leacock, G.G. Morris, Renaud, M. Saward, D. Huyshe, S. Cowan, H. Hutchinson, John Cruikshank, B. Seton, S. Becher, S. Clarke, A. Portman, F. Clarke, Lt. Smith, E. Samuells, C. Glass, J. Hotham, J. Hennel, W. Johnston, R. Tickell, R. Alexander, T. Ward, C. Skinner, J. Macleod, R. Taylor, J. Singleton, G. Brown, Col. Donnelly, A. Rawlins, G.P. Wood, T.R. Taylor, S.E. Pemberton, A. Swinton, E.D. Twemlow. Group portrait of uniformed officers. No identifications supplied.[Albumen print, 288x237mm]. Group portrait of uniformed officers. No identifications supplied. Group portrait of uniformed students.[Albumen print, 385x307mm]. Group portrait of veteran Indian officers. Group portrait of wedding party posed in a garden. Identifications for some of the figures are supplied on the back of the print and also on an accompanying sheet. Many of these are difficult to decipher and the following should be treated with caution as to spelling, etc.: front row, seated on ground, l. to r.: H.W. Waite, F.W. Johns(?), Philip Vickery, ---, G.H.R. Halland, V.P.Y. Vivien; second row, seated, starting 7th from left: Mrs Stanborough, Arthur Davidson, Miss Davidson (bride), L.C. Glascock (groom), Mrs Cocks, Lady French, ---, Warburtons, [several unidentified], Dr Fitzgerald; third row: Nancy Short (directly behind Arthur Davidson), Wallace (behind the bride), D. Petrie (behind the bridegroom); back row: Mrs Heathcote, Mrs --- Walker, [several unidentified], Mrs Vivien, [several unidentified], Col Ward, D. Hadow, Mrs Violet Stow, [illegible], Sir Edward Lee French (9th from right end), [several illegible names]. Group portrait of women and children of the family of the Sawbwa of Mong Nai. The two figures on the right are identified as 'Mon� Queen' and 'Mahadewi'. A faded print.[Albumen print, 101x71mm]. Group portrait of women students, with Emily Overend (later Lorimer) seated on right, front row.[Silver printing-out paper, mounted on board, 238x190mm]. Group portrait of women who worked on the Monro Canteens, a voluntary organization instuted by General Monro to supply cheap meals at railway stations for British soldiers. The following sitters are identified: Mrs Barstow, Lady Fell, Lady Hudson, Lady Monro, Lady Bingley.[Silver printing-out paper, 292x165mm]. Group portrait of zemindars, with two Indian policemen standing at left. Group portrait of Zetland's servants and assistants in camp. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 73, where the figures are named or ethnically defined. Another copy at Photo 364/1(43). Group portrait on deck. Group portrait on the bank of the reservoir. The sitters are identified as follows: Thorp; Miss Cooke; Miss Parsons; Mrs Edwards; Edwards; Tomlinson; Miss Vickers; Mrs Nightingale; Nightingale; Gray; F. Goodwill; Mrs Goodwill; Mrs Thorp; Miss McFee; R.A.E.; Boote; Newham; Sawday; Miss Vickers; M. Ellis; Miss Perry; Miss Sawday; Gray; H. Spencer; Trewhella; Thompson; Paget; Miss Button; Mrs Gulliford; Miss White; Mrs Thompson; Gulliford; Miss Vanes. Group portrait on the verandah of the Commissioner's bungalow. Standing behind Lord and Lady Elgin are Henry Babington Smith and Colonel Benjamin Franklin IMS. The figure seated next to Lady Elgin has not been indentified, but he is possibly the Commissioner at Gaya. Group portrait on verandah of Chinese house. The figures in the group are, from left to right: Rupen, Macready, Wu, Bailey, Ma, Kennedy, Kenchen. Group portrait outside the club: 'Bennett, Sastri, Colebrook, Young, Mack, [Ardagh], Simon, Thompson, Palmer Jones, Ridyard, Ricketts, Mrs Sastri, Margaret Colebrook, Monica Thompson, Mrs Young, Nora Warren, Eilene Mack, Hessie P.J., Mrs P.J. (Sen), Emma Ricketts, Mrs Bennett & Young, Mrs Ridyard'. Group portrait outside Viceregal Lodge, Simla, including the ADC's Captains Mackenzie, Atkinson and Tod; the Military Secretary, Col Maxwell, VC and Private Secretary, Sir James Du Boulay. Group portrait posed in front of a thatched house. Group portrait posed in garden. The individuals are identified as, left to right: Turki interpreter; Mrs Nystr�m; ex-Taoyin Chu; Liu, ex-magistrate of Yarkand; Li, Magistrate of Yarkand; a subordinate official; Mrs Roberts, Swedish Mission. A further note reads: 'Chu and Liu are conducting the negotiations with the Afghan Envoy.[Gelatin silver print, 299x223mm]. Group portrait posed on roadway. The majority of the figures are identified, as follows: C.V. McIvor, H. Gwythergan(?), Col. Garthorn Graham, O.W. Collet, P.J. Large, Dick Heenan, Col. Pollard, Irvine Armstrong.[Albumen print, 225x178mm]. Group portrait seated on the steps of the verandah. The following sitters are identified: (back row) Pramakayya; Paget; Goodwill; Luke; Rees; Nightingale; Gulliford; H. Spencer; Thompson; David; (second row) Redfern (standing); Tomlinson; Edwards; Vanes; Sawday; Newham; Walker; Trewhella; R.A. Ellis; Nathanael; (front row) John Mark; Thorp; Philip; Lamech. Group portrait showing Captain Thomas Herbert Lewin seated in the centre of a group of Lushai men armed with rifles. Probably photographed at around the time of the Lushai Expedition, in which Lewin served. Group portraits of cadets, with the following identifications on the back of the print: Jacob, Goldie, G. Strahan, Major, J. Taylor, Collis, Pierson, Doveton, Mucklejohn, Forbes, Colquhoun, Warren.For another portrait of the group, evidently taken on the same occasion and captioned 'W. Pierson's Term, Aug-Sep 1858', see Photo 799 (61).[Albumen print, 215x139mm]. Group portrait Group portrait taken at Mian Mir, the cantonment of Lahore. The following sitters are identified: Capt Campbell, Lieut Sutherland, Capt Gordon, Capt Davidson, Col Trotter, Lieut Twedie, Lieut Moulton Barrett, Lieut MacDonald, Lieut Patton. Group portrait taken in front of the Mahabatkhanji Infantry Quarter Guard after the Nawab's inspection. The following sitters are identified in the typescript key beneath the print: Colonel Sardarsingh (Private Secretary to the Nawab), Mr Cadell (Diwan), Sir Mahabat Khan, Nawab of Junagadh, William Cecil Edwards, Major Usmankhan (Commandant, Mahabatkhanji Infantry). Group portrait taken in front of the main entrance of the hospital.[Albumen print, 366x306mm]. Group portrait taken in front of the sculpture known as Arjuna's Penance.[Gelatin silver print, 201x150mm]. Group portrait taken on board H.M.S. 'Northbrook' of Lord Hardinge with the ship's officers and others. The photograph was taken on the Viceroy's Middle Eastern tour during the voyage up the Persian Gulf to Basra. The following identifications of sitters are given beneath the print: Alick Hardinge, J. Mackenzie, W. Brown, Sir Valentine Chirol, Captain Wood, Lord Hardinge, H. Penfold, Frederick Halliday, Du Boulay, Captain Mackenzie, Major Turner J. Hasted, Bill Graham, Micky R.[Gelatin silver print (copy print), 206x137mm]. Group portrait taken on verandah of bungalow. The sitters are identified as follows: Plunkett, Hinchcliffe, Walker, Edwards, David.[273x216mm]. Group portrait taken while Sifton was acting Governor of Bihar and Orissa. He is shown here seated next to his wife Henriette May, and a young woman, presumably their daughter (see Photo 899/7 (56) and Photofor wedding photographs). His Private Secretary E.J. Montgomery is seated on the right, with Captain W.N. Pettigrew ADC and an unidentified figure standing on the left. Group portrait with Amir Sher Ali seated with European political officers and two unidentified Afghani sirdars. Named as follows: '1. Dr Bellew, 2. Sir R.[Should be F.] Pollock, 3. Amir Shere Ali, 4. Col C. Chamberlain, 5. Col Upperton'. Probably taken during the durbar at Ambala. Photographs taken at Ambala during the durbar itself are probably all by C.C. Taylor, ADC to the Viceroy at this period. Duplicate of Photo 50/1 (43). Group portrait with Arthur Henry McMahon who accompanied the mission to Kabul in August 1893. A newspaper portrait of McMahon is pasted to the right of the print. Group portrait with Colebrook holding his dog. Group portrait with Colonel J.L.T. Jones, Dr Adams and nursing staff. Dr Adams (identified in Print 7) is probably Dr Charles Henry Benjamin Adams who is listed in Crawford's Roll of the Indian Medical Service 1616-1930 as working as a plague medical officer in 1897-98. Group portrait with Colonel J.L.T. Jones. Group portrait with Colonel J.L.T. Jones sitting beneath a sign which reads: 'Observation Ward. Gift of Dr Hari Vaman Bhat, in honour of Surg-Capt Lloyd Jones, Special Plague Officer, Poona'. Group portrait with E.H. Colebrook. Group portrait with European and Indian guests. Group portrait with F.O. Bell and members of the St John Ambulance. Group portrait with family. Group portrait with Hardinge seated in the centre. This was the last session of the Legislative Assembly over which he presided. Group portrait with Lord and Lady Elgin, Sir Kishen Prasad, Viceroy's staff and others. Lady Elisabeth Bruce is seated third from left, front row. Her future husband, the Viceroy's private secretary Henry Babington Smith, is seated second from right. Print unsigned but numbered in the style of Deen Dayal. Group portrait with Lord and Lady Reading, Sir Bhopal Singh Bahadur, British officials and Indian retainers. The Maharana of Udaipur Sir Fateh Singh stands at the right of the back row. Group portrait with officers in various orders of uniform. Probably officers of the 2nd Punjab Infantry Frontier Force. Group portrait with R.G. Davies seated second from right. Rows of dead birds and hares are laid out on the ground in front of the sitters. Group portrait with Sir Bhupendra Singh, Maharaja of Patiala seated in centre. Walter Binny Douglas stands in the second row, fourth from left.[Silver printing-out paper, 285x206mm]. Group portrait with Sir Frederick Sykes and officials. Group portrait with Sir George Yule, the Officiating Chief Commissioner of Oudh, and staff, including General Abbott sitting on his left. Yule held the office from April 1861 to August 1865. Group portrait with some identifications supplied. Group portrait with the Maharaja, Residency staff and their wives and Colonel J.L.T. Jones who is sitting on the left. Group portrait with the ruler of Nagar, posed in front of wall. The figure seated beside him appears to be the Mir of Hunza. However, if the identification of the two rulers in Photo 99 (48) is correct, Bailey has confused the two figures and the Raja of Nagar, Sikandir Khan, is the man on the right, with the Mir of Hunza on the left. Group portrait with Thomas Hindmarsh seated in centre. Duplicate of print 9. See print 14 for a very similar view, with identifications. Group portrait with two of the senior officers standing at the front being the future Maharajas of Kashmir and Panna. This Bourne & Shepherd photograph is with others taken at Bhavnagar in 1912 and the firm's print number is in the same sequence. Group portrait with Wilberforce-Bell's and Porbandar State officials. Group portrait with Wilberforce-Bell and Indian cricketers. All named: Back; Kanthad Wala of Jetpur, Bhan Wala of Bilkha, unidentified, Ram Wala of Bagasra, Raning[?] Wala of Jetpur. Middle; Vira Wala of Bagasra, Vajubha of Sayla, Self (Captain), Brook-Fox, Ram Harzar Wala of Bagasra. Front; Punja Wala of Nawania, Valera Wala of Chital. Group portriat of the Loilong Myosa, family and two retainers. Group portrtait. The seated figures can be identified as: James John Macleod Innes, Charles Alexander Sim, Alexander Taylor, Charles Waterloo Hutchinson, Edward John Lake and Robert Maclagan. The man seated on the right and those standing behind are unidentified. The presence of Hutchinson, a keen amateur photographer, raises the possibility that he may have been responsible for this photograph. Group posed against tree. Small snapshot. Group posed among rocks. Colonel (later Brigadier) Ernest Douglas Money (1866-1952) standing at right.[Gelatin silver print, 140x80mm]. Group posed at head of valley, with glacier in background.[Gelatin silver print, 164x114mm]. Group posed at side of river or lake. Three of the figures are identified: Dr Mary Gardner; Kitty Jennings; Rev. F. Goodwill. Group posed at summit of hill. Group posed beneath shamiana. Group posed beneath tree, with identifications as follows: F.U. Carr, Captain R.P. Stares, Walters (IMS), H. Jones (DAAG), Walter Binny Douglas, Colonel Mahomed Aslam Khan, Captain Barton (Guides), C.E. Cobb (Signalling Officer), General Hammond.[Silver printing-out paper, 154x111mm]. Group posed beside a suspension bridge? Group posed beside car in driveway of the Residency, including Irma Bailey. Group posed beside the great bell near the ruined pagoda at Mingun. Figures in the group identified as follows: Sir Charles and Lady Crosthwaite, Major C.B. Cooke, Lieutenant H. Daly, Major, Mrs and Miss Clarke-Kennedy, Mrs Lake, Captain R.C. Temple, Miss Shewan, Mrs Harvey-Kelly, the late Lieutenant Campbell and Major Fenton. Group posed in a tableau of a mock military wedding.[?Collodion printing-out paper, signed 'Watts & Skeen' in the negative, 272x207mm]. Group posed in front of a house at Deoban. With a woman seated in a dandy in the foreground. Second copy at print 87.[Albumen print, 177x239mm]. Group posed in front of a tent with bag of partridges. The figures are identified as: C.P. Skrine, Mrs Margaret Weightman, M. [Skrine's mother?], Hugh Weightman, Norman Cater (Agent to the Governor-General)..[Gelatin silver print, 188x125mm]. Group posed in front of bungalow. A few of the sitters are identified in pencil on the mount, among them the bride and groom, Graham and Miss Lawrence. General William Liston Dalrymple is seated in the front row.This appears to a group of officers of the Royal Irish Regiment, then stationed at Jabalpur. Miss Lawrence is possibly the daughter of Lieutenant-Colonel W.W. Lawrence. Other identified figures who correspond with officers of the regiment are 'Davis' (2nd Lieutenant D.H. Davis), 'White' (Lieutenant W.H. White) and 'Orr' (Captain A.S. Orr). The photograph is captioned 'Jubbulpore 28-3-96' in the negative.[Silver printing-out paper, 282x219mm]. Group posed in front of car. Group posed in front of entrance. Group posed in front of entrance to Government House, Maymyo. Sir Herbert Thirkell White stands second from left, with Charles Pennell third from left. Lady Fannie White is seated on the left, next to the bride. Maxwell Laurie and Mrs Laurie are seated on the right.[Gelatin silver print, signed 'Samuels Maymyo' in the negative, 275x205mm]. Group posed in front of motor car. Group posed in front of one of the decorated tents of the Sikkim Camp at the durbar. Three other snapshots on this page show other views of the camp (one print hand-coloured). Group posed in front of same buildings seen in print 15. Group posed in front of stone built house. The sitters are identified as: Barry (telegraph), Lt. Hogg, Bailey, Capt. Steen, Sergt. Cooke (telegraph), Mr Taylor (clerk). Group posed in front of tent. (Ancient Persis Map C3). Group posed in front of tent. Duplicate negative, no print. Group posed in front of tent. Group posed in front of the Assembly Rooms. Group posed in front of the porte coch�re of Barnes Court. Lady Canning is seated on horseback, Major H.M. Jones, one of the Viceroy's ADCs is standing centre, with Lady Georgiana Campbell standing on the right.[Albumen print, 180x161mm]. Group posed in front of the small temple, with the Maharaj Rana Sir Sri Rajendra Singh (1900-1943) standing second from left.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 287x213mm]. Group posed in front of the statue. These are the same figures identified in print 12 as Lisa, C.P. Skrine, Helen Skrine, the Maharaja of Jhalawar. From the identical clothes all the sitters are wearing, it was clearly taken on the same day as print 12. The statue presumably depicts Sir Bhawani Singh, Maharaj Rana 1899-1929.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 287x213mm]. Group posed in front of the verandah of an unidentified building, some holding tennis racquets. The sitters are identified beneath the print as follows: Capt McCrae, Major Dunnage, Surg Maj Fairland, Mr Anderson, Col Davies, Miss Mainwaring, Mrs Mainwaring, Mrs Brander, Miss Campbell, Mrs Christie, Mrs Dunnage, Col Campbell, Mrs McCrae, Mrs Harvey, Capt Maisay, Surg Maj Johnson, Mrs Johnson, Mrs Maisay, Mrs Campbell, Mrs Fairland, Mrs Dandridge, Col Chapman, Surg Hickson, Col C.L. Harvey, Capt Mainwaring, Lieut Welman Group posed in front of unidentified building. Group posed in mess garden, with mess building in background. In the centre of the group a Gandharan head of a Buddha stands on a table. Group posed in narow courtyard, probably at the British Agency House (print 147a, showing European staff, is taken in the same location). Group posed in the grounds in front of the main college building. Group posed in the grounds of a camp. The identities of some of the sitters have been written on the verso and are visible through the print, although only the name 'Wynch' is legible. Group posed in the small fort. Group posed into front of school building.[Albumen print, 209x157mm]. Group posed in tunnel. The following figures are identified: Barkat Ali (contractor's foreman), Sheikh Gholam Mustafa (PWD overseer), N.V. Dorofeeff (tunnel engineer), Mirza Ghulam Hussein (brother of Badr-ud-din, contractor). Group posed on an embankment includes, Amar Singh, Sir William Mackworth Young and Lady Young, Lieut-Colonel A.C. Talbot and Sir Louis and Lady Dane. Similar view at Print 32. Group posed on balcony, location unspecified. Group posed on beach at Sile, some carrying wooden equipment boxes.[Printing-out paper, 311x251mm]. Group posed on board ship on journey out to India. Reginald Trevor-Jones first arrived in India in October 1912. Sitters identified as follows: Hawes; Simpson; [unidentified]; Caldecott; Reilly; Blizzard; Dench; Mackay; T.J. [Trevor-Jones]; Waterhouse. Group posed on hillside. (I.A. Map 2, C3). Group posed on moors with guns and dogs. Lord Curzon stands in the centre of the group. (?The figure on the right possibly the future King George VI). Group posed on rocks beneath summit of pass. Group posed on rocky hillside. Group posed on steps leading up to a large bungalow. Sir Digvijaysinhji Ranjitsinhji Jadeja, Maharaja of Navanagar 1933-66, stands in the centre ogf the group. Mary Edwards, wife of William Cecil Edwards, stands on the right of the Maharaja. Photograph presumably taken at Jamnagar. Group posed on terrace of Government House. Taken on the same occasion as print 7.[Albumen print, signed 'P. Klier Rangoon' in the negative, 270x211mm]. Group posed on the servants' boat attached to the Rostum. Group posed on the steps of Government House, Calcutta. The figures are identified from left to right as Capt. Stewart (ADC), Capt. Baring (ADC), Mr Bowring (private secretary), Major Bowie (military secretary), Sir S. Blane (ADC), Dr Beale, Capt. Hills (ADC).[Albumen print, 215x176mm]. Group posed on the verandah of the Bolghatty Palace, with identifications supplied on back of print as follows: (left to right): Sir Shanmukhan Chetty (Dewan of Cochin); H.H. the Maharaja of Cochin, Sir Sri Rama Varma; C.P. Skrine; Rao Bahadur M.V. Menon, Skrine's assistant; chobdar.[Gelatin silver print, 198x151mm]. Group posed on verandah. As with print 19, Bailey appears to have confused the sitters. Group posed on verandah of house. The three seated Tibetans are a monk, the Raja of Sikkim's half brother and the Raja of Sikkim's son. Captain Steen and Bailey stand behind. Group posed on verandah of unidentified building. The four figures in the front row are identified as: Duncan, Mullah Saleh, Sheikh Ahmed, Colonel Hamilton. Group posed on verandah steps. Identified as (left to right, standing): Charles Bell, Raja Traring, Rani Traring, Colonel Harnett; seated: one of Raja's sons, unmarried daughter known to British community as 'Goggles'. See also part 286 (516a-b) for similar groups. Group posed on verandah steps of Government House, Nagpur. Sir Montagu and Lady Butler stand with their daughter Iris Portal, flanked by two ADCs.[Gelatin silver print, 134x88mm]. Group posed outside a bungalow, with a bearskin on the ground. Dr O'Hara is one of the brothers, William or Alfred James, both of the Madras Medical Service. Group posed outside a bungalow with servants standing on the verandah behind and an ayah standing with a baby on the right. A.S. Lethbridge is standing on the left. Group posed outside the bank. The man sitting in the centre is 'Tom', manager of the Chartered Bank of India, Australia and China and probably a relative (brother?) of Colonel J.L.T. Jones. The man sitting on his right is identified as Caleb Lewis. Group posed round dead tiger. Duplicate (in better condition) at Photo 1076/3 (2), where the sitters are identified as follows: H.R.H. The Prince of Wales; Lord A. Paget; Sir Joseph Fayrer; Major Bradford; Mr Sidney Hall; Mr W.H. Russell; Lord Aylesford; Col. Beynon; Major Henderson; Lord Carington.[Albumen print, signed 'Bourne & Shepherd' in the negative, 136x98mm]. Group posed under a tree at Chhatrapur?. Group posed under coconut tree. Group posed with camels. (I.A. Map 2, C2). Group posed with cup.[Printing-out paper, 290x208mm]. Group posed with dead pig. Slightly unsharp. Group posed with dead tiger. Figures in the group are identified on the reverse of the mount as follows: (back row, left to right): Governor's ADC, Mr Dible (Collector), Noel Shore; (front row): local rajah; self (Mrs Shore), Sir William Marris (Governor), Shyam Singh Sinha (Raja of Tajpur), Governor's ADC. Group posed with dead tigers, Sir Montagu Butler in centre, with Maharaja Ramanuj Saran Singh Deo and others.[Gelatin silver prints]. Group posed with dead yak. Group posed with the day's bag. With Clarmont Skrine and Hugh Weightman on the left.[Gelatin silver print, 164x219mm]. Group posed with three dead tigers and a stag. The following figures are identified: G.E. Franey, Ralph Verney, the Maharaja of Jaipur, F.C.T. Halliday, E.S. Montagu, Bhupendranath Basu, the Earl of Donoughmore, M.C.C. Seton, Alan Parsons.[Silver printing-out paper, 281x198mm]. Group posing on a verandah, in Germany?: 'Miss Vickers; A.C. Cattley; Hon G. Curzon; Mrs Griffith; Miss L. Vickers; Rev Griffith; Dr Holland; Cap Hume; C. Kennard; Mrs Machell; J.P. Charles'. Group posrtrait of servants posed in a garden.[Printing-out paper, 204x151mm]. Group probably at the Residency. Two of the sitters are in Print 156. Group seated at lunch inside the Tering Raja's house.[Gelatin silver print, 141x92mm]. Group seated at lunch in the open air, identified as follows: Haughton, H.F. Burke, W.P. Appleford, C.G. Ames, Dickson, Dorothy Franklin, C.T. Daukes, George Denne Franklin. Faded print.[Silver printing-out paper, 120x97mm]. Group seated at table, with Ludlow on the left. Group seated at table. Group seated at tiffin round a camp table. T.R.R.P. at left, the Langs in the centre and T.J.M. Mcleod on the right. Group seated in front of roughly-made hut beside a stream running through forest. A dark print, the figures difficult to distinguish. Group seated in line beneath trees in Bell's camp. 'On my right Kyap--ying Chem-me, Colonel Harnett; on my left, the Ken-chung (directly subordinate to Kyap-ying), Ecclesiastical Chi-dzong, Lay Chi-dzong, at this end D.B. Palhese.' Group seated on carpet, presumably photographed at Leh. Group seated on steps in front of palace, with birds laid out in rows in front of them. In the centre of the group are Sir Montagu and Lady Butler. The figure seated between them is presumably Raja Lal Jawahir Singh of Sarangarh.[Gelatin silver print, 288x233mm]. Group seated on the doorstep of Ludlow's bungalow at Gyantse. Group seated round a table beneath a shamiana, at an unidentified event, possibly King's Birthday celebrations. Letterpress label beneath the print identifies the sitters as follows: (left to right): Lady Sifton, Raja of Puri, His Excellency Sir James Sifton, Mrs B. Das, Raja of Parlakimedi, Mrs A.K. Bose, Mrs Hubback, Raja Bahadur of Kanika. Group seated round table in a tent in the Rupen's camp below Gyantse Dzong. At the right of the group are Langrishe and Dr Kennedy. Group seated round table in camp. Group seated with large crowd standing behind. Group seen in print 443 (with two additions), posed with an unidentified European (possibly Dr Leitner?). Duplicate of Photo 1000 (4431). Group sitting on a carriage. Group sitting on a rock on a hill. Identified on reverse as: '1. R.W. Godfrey, Esq, OBE, IP. Political officer, Sadiya. Frontier Tract, 1939-1944; 2. Abor headman (Adi); 3. Apok. Tayeng Padam interpreter'. Group sitting on a verandah. Group sitting on chairs. Group sitting on chairs in a village. Sir Robert Niel Reid (1883-1964), was Governor of Assam 1937-42. For his own extensive photograph collection, see Mss Eur E278. Group sitting on steps, all named: 'Self, Violet Fraser, Mrs Marton-Evans, Mrs Wilson, Wilson, Denise Wilson, Miss de Sale'. Group sitting on steps, from left: 'J.R.D.S. [Dunlop Smith]; Mrs Younghusband; Miss Ruth Ibbetson; Lady Ibbetson; Col Younghusband; M.M.S.; Mr Coldstream'. Group sitting outside a low domed building. Group sitting outside a tent, from left: 'E.A.S. [Stotherd's sister?], Col J[acob], C.F.S. [Stotherd's sister?], Sconce, Mrs J[acob], C.E.S.'. Group sitting under a tree. Groups of youths (with teachers?) posed for photographer. Groups seated round tables, with figures in foreground playing ba (Chinese dominoes). Wind-up gramophone on table in left background. Group standing behind a large, dead tiger. Named from left: 'Col Fenn, Col Jit Bahadur, Col Gordon, Cap Hon G. Portman, V[iceroy], Col Hon E. Baring, Col Hurck Jung, Col Pears'. Group standing behing a large display of birds and black buck. Group standing by a plane. Humphrey is carrying the Union Jack from the Kabul Legation under his arm. He was the British Minister in Kabul from 1924 until the airlift. Group standing in a line. Group standing in an archway. Group standing on the station platform includes, from left: 'Ram Dit Mal[?], Cookson, C[harles Stotherd], Mrs Cooke, V. Capper, M[argaret Stotherd], Col Barron RE, Jamieson, Jacker, Cooke, Low, Campion'. Group standing outside the Residency with three elephants with howdahs behind. From left: 'Mr Coldstream; Phyllis; Mr Jack Cox; Col Poett; Evelyn; J.R.D.S. [Dunlop Smith]; Mrs Poett; M.M.S.; Babs; Marsh; Mr Biddulph'. Group standing outside the station. Group standing round a pony trap, including: 'J.R.D.S. [Dunlop Smith], Dr M. Aris, Lieut Bairnsfather [?], Lieut Parsons, Capt Leake, Lieut Thackeray, Capt Grove, Lieut Col Glass, Capt Deering, Capt Newington'. Group taken on the same occasion as print 110, and including the same sitters with the addition of the spaniel 'Poona'. Group taken on the same occasion as print 22, but with sitters arranged differently, some seated. Similar to print 36. Print unsigned, but probably by Klier.[Gelatin printing-out paper, 271x206mm]. Group taken on the same occasion as print 33, but a more head-on view. Group taken on the same occasion as print 60, but with figures differently arranged. Bailey, Langrishe and Kennedy stand in a row behind the unidentified, seated Tibetans. Group taken on the same occasion as print 73, but with more sitters. This group comprises: (seated) Henderson, clerk, Major Drever (62nd Punjabis), Chung, Morgan; (standing behind): Dr Macdonald, Bailey. Group taken when Elinor Curzon was a few months old (she was born in 1869). From left: Eveline (b.1865), Assheton (1867), Blanche (1861), George (1859), Sophia (1857), Alfred (1860), Francis (1864). Group with bag of rabbits (hares?). The following figures are identified: subadar; Dr Macdonald; Major Walker; Dr Kennedy; Morgan. Group with dead quail after a shoot. Group with E.H. Colebrook, including: 'G.M. Pearse; Dy S.P. Thomas; Bhaskaran, D.S.P.; Mr & Mrs Middleton, D.S.P.; Sukumaran, Dy S.P.; Dy S.P. Srinnasan [and] Insp Venkat Araman'. Group with E.H. Colebrook sitting centrally. Group with George Kempthorne Watts posed in front of thatched house with Indian road-building gang carrying hoes and other implements. Watts served in the Indian Public Works Department, mainly in Hyderabad and Berar, from 1875. Group with horses on the plain at Hram Tso, with mountains in the background. Group with Lord and Lady Willingdon seated in the centre. Younghusband is on the right, holding the Buddha given to him by the Ganden Tripa.[Gelatin silver print, 242x188mm]. Group with Maharaja Mahendra Singh, Lord Northbrook and various Indian and European officials. Several sitters are named below the print: 'Capt Nesbit [Nisbet?], Dr Barnett, Col Bamfield, Farmer, Col Earle, Mr Aitchison, Gen Taylor, Mr Thornton'. Group with Ramchandra Tondiman, Raja of Pudukkottai, seated at a table in the act of signing a document, with four ministers standing around him. Albumen print, 220 x 170 mm. Group with shotguns posed in front of camels in the desert. The Jam of Las Bela is presumably second from left. Other figures unidentified.[Gelatin silver print, 274x212mm]. Group with Superintendants and their wives. Group with tame gazelles. Two of the figures are identified as 'Keyes' and 'Carter'.[142x85mm]. Group with the Chief Engineer, W.H. Spalding, and Indian assistants. Group with the Viceroy Lord Reading, Sir Frank Sly and others posed in front of a row of tiger skins being stretched on wooden frames. Duplicate at Photo 10/27 (357), in better condition. Figures identified as in preceding print, with the addition of Capt Walsh. Group with young British officer and Mahsud tribesmen armed with rifles. Groyp portrait of Indian famine camp staff. The central figure is identified simply as 'Doctor'; to his left is a European identified as P.J. Corbett, who was at this time an assistant engineer in the Bombay Public Works Department. A placard identifies the location as 'Relief Camp of Shetphal Tank 1897'. Guests seated in wicker armchairs in a garden during the birthday party. The following individuals are identified beneath the print: Miss Strobridge; Miss Mathews; Clova Macnabb; Eric Rivett-Carnac; Appa Sahib of Sangli; Mr Kemble; Mrs Rivett-Carnac;Miss Seiler; Captain Rivett-Carnac; Dr MacArthur. Guests sitting in a marquee include Ambrose Dundas (Resident) and Sir Feroze Khan Noon (Defence Minister). The occasion was the celebration of the surrender of the Axis powers in Tunisia in May 1943 during the Second World War. Gurkha group posed beneath a tree.[Albumen print, 135x96mm]. Gwen Tobin is standing in the foreground. Gwen Tobin sitting on a riverbank. H. Boulton, J.W. Watson and H.B. Meakin standing in uniform. Half-length, full-face portrait. Faded print. Half-length, full-face portrait of Hassan Husnu Pasha, in uniform.[Albumen print, 378 x 310 mm]. Half-length, full-face seated portrait. Half-length, three-quarter profile carte-de-visite portrait of Colonel Joseph Henry Dyas (1824-1868), Royal Bengal Engineers 1843-68.[Albumen print, 55x90mm]. Half-length cabinet portrait, full face, his left hand resting on his sword. For other copies of this portrait, see Photo 98 (1), Photo 449/1 (3) and Photo 449/2 (28). The copy in the present album, and enlarged carbon print, is the best example.[Carbon print, 96x138mm]. Half-length cabinet portrait.[Albumen print, 100x143mm]. Half-length cabinet portrait of George Alfred Lefroy (1854-1919), Bishop of Lahore 1899-1912 and of Calcutta 1913-19. He is seen here in clerical vestments. Print signed 'G.A. Lahore'.[Albumen print, 97x138mm]. Half-length carte de visite portrait, in sporting clothes. Half-length carte-de-visite portrait, in uniform. Probably photographed at Poona. Half-length carte-de-visite portrait: a photographic copy of an engraving.[Albumen print, 60x90mm]. Half-length carte-de-visite portrait.[Albumen print]. Half-length carte-de-visite portrait of a British Army officer. (?)Clayton Scudamore Beauchamp (d. 1889), Royal Engineers 1861-86.[Albumen print]. Half-length carte-de-visite portrait of John Bellasis Bowring (1872-1904), son of Lewin and Katharine Bowring.[Albumen print, 56x90mm]. Half-length carte-de-visite portrait of Krishna Ayengar, 'one of a very numerous clan of Vaishnava Brahmans of Tamil origin, but long settled in Mysore...A man of superior powers, and when eventually placed by me in charge of the Kolar District, transacted the duties of his office entirely to my satisfaction, while securing the goodwill of the people. He was the first native district officer, and was made a C.S.I. at the Delhi Imperial Assemblage. He died in 1882, having retired in disgust at not being appointed Diwan when the young Maharaja was installed.' Half-length daguerreotype portrait, in civilian clothes, of Captain Edmund Charles Vibart. Vibart joined the 11th Regiment Light Cavalry in 1842, was promoted Captain in 1855 and killed at Cawnpore (Kanpur) during the Mutiny on 27 June 1857. The fact that case bears the legend 'Baker's Daguerreotype' would date the portrait probably to the early part of 1857. F.W. Baker was an assistant in Newland's daguerreotype studio in Calcutta in the early 1850s, and he is first recorded as practising under his own name in the directory for 1858 (which would have been compiled during the previous year). Half-length family group. Half-length hand-coloured portrait of Charles Johnson Nicholson (c. 1828-1862), Bengal Army, who lost an arm at the storming of Delhi during the Indian Mutiny. This appears to be a hand-coloured paper print. Cased image in gilt matt, the case measuring 152 x 130 mm, stamped in gilt with royal coats of arms and legend, 'By Appointment. Mr. Kilburn 222 Regent Street.' Half-length oval carte-de-visite portrait, wearing jockey's kit. Half-length oval carte-de-visite portrait. Probably photographed in Bombay. Half-length oval portrait of Aaron Penley. Half-length oval portrait of Henry Meredith Vibart, Madras Engineers. Half-length portrait, a differently cropped version of print 5.[Gelatin silver print (modern print), 108x192mm]. Half-length portrait, both men are seated. Half-length portrait, dressed in ornately-patterned coat, black woollen hat and holding sword. This appears to be the portrait listed in the Baker & Burke catalogue as 'The Amir, large size, standing, half figure'. See also Photo 27 (23), a similar portrait taken on the same occasion. Half-length portrait, in military uniform. Half-length portrait, in uniform, mounted on card. Signed on mount: 'Dip Narain Singh Sdr. 4.6.35. Nepal Escort.' Half-length portrait, in uniform, of General Sir James Abbott in old age.[Albumen print, 155x223mm]. Half length portrait, in uniform, with signature. Half-length portrait, in uniform. Half-length portrait, in very poor condition, with portions of image missing.[Gelatin silver print, 73x95mm]. Half-length portrait, leaning on a balustrade facing right. Half-length portrait, lightly hand-coloured. This figure may be the officer identified as Man Singh in the preceding print. Half-length portrait, partly obscured by an overlapping print. Half-length portrait, seated at a desk. Lawrence Frederic Rushbrook-Williams was Professor of History at Allahabad University 1915-19. Half-length portrait, seated at a desk. Half-length portrait, seated at a desk writing, in civil service uniform. Photograph on opaque glass pane. Private Secretary to Lord Chelmsford, 1916-20. Created Baron Rugby, 1947. Half-length portrait, seated at a desk writing. Half-length portrait, seated at desk.[Gelatin silver print (modern copy), 174x241mm]. Half-length portrait, seated facing right. Half-length portrait, showing David Lorimer seated at his desk reading papers, his wife Emily standing behind him.[Gelatin silver print, mounted on card, 145x196mm]. Half-length portrait, sitting facing left. Half-length portrait, sitting facing left. Half-length portrait, sitting facing right. George Rankin Playfair (1816-1881) was a Civil Surgeon at Agra and also accompanied Samuel Bourne on the third of his trips to the Himalayas. Half-length portrait, very faded and yellowed. Half-length portrait, wearing a boater decorated with flowers. Half-length portrait, with clear view of head-dress. Half-length portrait: 'Seg-sing-pa Mi Pon, is a city Magistrate and colleague of Kyipup.' (Lhasa Mission Diary, 19 September 1936).[Gelatin silver print, 94x142mm]. Half-length portrait: 'The Khattacks are traditionally descended from the Greek and Macedonian troops of Alexander the Great, and still retain the 'bobbed hair-do' of the Ancient Greeks and in many cases also their classic features.'[Gelatin silver print (modern print), 90x140mm]. Half-length portrait. 'Tering Rimpoche came to lunch. A high monk with a ready smile and most expressive eyes, he is a brother of the hospitable Tering Rajah of Gyantse. He was formerly in charge of the Sikkim monasteries, but after some trouble there he recently revived a small monastery on the Tering estate. He has come up to Lhasa to visit friends.' (Lhasa Mission Diary, 23 November 1936).[Gelatin silver print, 104x158mm]. Half-length portrait.[Albumen print, 116x173mm]. Half-length portrait.[Albumen print]. Half-length portrait.[Gelatin silver print, 92x142mm]. Half-length portrait.# Half-length portrait. Duplicate of Print 157. Half-length portrait. Massood Mirza was the eldest son of the Shah of Iran and the Governor of Isfahan. This is a copy of a signed portrait given to Augustus Le Messurier as recorded in his book From London to Bokhara and a ride through Persia (London 1889), pp. 267-8: 'On my taking leave, he rose from his couch and gave me five of his pictures from a cupboard. I asked him to write his name on one....[The photographs were duly presented in India; one to HRH the Duke of Connaught at Poona on January 5, 1888, a second to the Commander-in-Chief at Calcutta on January 12 and a third to the Viceroy on the 13th.]'. Half-length portrait. Not British Library copyright. Half-length portrait. Print signed and dated on the verso: 'Miss Millar...28/8/96'. Margaret Millar married William Elphinstone Underwood III (see Print 17) on 3rd September 1896. Half-length portrait. See Photo 940/1(79) for an uncropped version of this portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. Half-length portrait. The subject is sitting by a fireplace facing right. Half-length portrait. Uncased daguerreotype. Half-length portrait. Very faded print. Half-length portrait (copy photograph).[Gelatin silver print, oval image, approx. 141x187mm]. Half-length portrait of a Burmese man, probably photographed at Mong Nai.[Albumen print, 120x179mm]. Half-length portrait of a European man in uniform. Half-length portrait of a garlanded Professor Speers on the platform of a railway station, probably at Lahore.[Gelatin silver print, 108x150mm]. Half-length portrait of a grinning boy, wearing characteristic hat. Half-length portrait of a man and woman. Amateur work. Half-length portrait of a man waiting to buy fish, probably at Papanasam. Half-length portrait of an Addiscombe cadet, sitting facing left. A later annotation reads: 'Graham M. Balfour, 1856-8'. Half-length portrait of an Addiscombe cadet. A later annotation reads: 'Alexander D. Grant, 1858-9. Military Drawing (head of 3rd class)'. Half-length portrait of an Addiscombe cadet. A later annotation reads: 'Robert P. Pennefather, 1858-9'. Duplicate at Photo 42 (88). Half-length portrait of an Indian officer.[Albumen print, 82x106mm]. Half-length portrait of an unidentified man. Half-length portrait of a Tibetan man with a large goitre.[Gelatin silver print, 106x154mm]. Half-length portrait of a Tibetan woman, probably taken at Gyantse. Half-length portrait of a young Tibetan woman, possibly the sister of the woman seen in print 192. Half-length portrait of Betty Chubb, holding sprigs of peach blossom.[Gelatin silver print, 223x323mm]. Half-length portrait of Captain Charles Waterloo Hutchinson (d.1890), Bengal Engineers. The portrait shows Hutchinson posed at a dressing table, holding a hairbrush and peering into a mirror to give both a profile and full-face portrait. It is possible that Hutchinson was himself involved in the photographing of this portrait (see album introduction for a note on his amateur photographic activities). Half-length portrait of Clara Mary Aloysia Bowring.[Silver printing-out paper, 78x99mm]. Half-length portrait of David Lorimer, seated at his desk in his study at his home in Welwyn Garden City, surrounded by papers.[Gelatin silver print, 149x199mm]. Half-length portrait of Ernest Havell in the classroom, wearing academic gown and mortar board, gesturing with right arm. Half-length portrait of G.C. Hogg, sitting in uniform facing left. Half-length portrait of James Sinclair Thomson, sitting facing right. Half-length portrait of Jessie Murray. Half-length portrait of John Thomas Hyde (d.1892). Half-length portrait of Lord Reading working at papers, Sir Geoffrey de Montmorancy in the background. Photograph mounted in folder. Half-length portrait of Mahabat Khan who sits facing right. Half-length portrait of Marian Murray. Half-length portrait of Mary Jigme, her daughter in her arms. 'The youngest child, Mary Jigme's daughter, was only three, but the majority were in their 'teens.' (Lhasa Mission Diary, 78x113mm]. Half-length portrait of Ranbir Jang, who sits facing left. Half-length portrait of Rev Henry Tuson, sitting facing right.. Half-length portrait of Robert Alexander, an Addiscombe cadet. Half-length portrait of Sir Mangal Singh.Stored separately in Print Room planchest 6C.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Half-length portrait of Sir Rajendra Singh. Half-length portrait of Sow On, Sawbwa of Yaunghwe from 1887, seated in a chair in the shade of a tree. In his report on the Shan rulers (OIOC Mss Eur F278/66) Scott gives a frank assessment of his character: 'Extremely unpleasant; boorish and unmannerly to a degree. Plumes himself on being the first Sawbwa to accept British suzerainty, but his submission was due to a just conviction that it was his only chance of safety. Affects to be chief adviser to the Superintendent, and is irrepressible and insatiable in his habit of intrigue. Was fined Rs. 10,000 for devastating Loilon in the spring of 1888 and considers himself very ill-used, as he was only doing what, he says, the Burmese Government would have expected him to do. Has wonderful ideas about Russia and France, also China, which nations, he has periodical information, are marching on the Shan States. Disliked by all his brother chiefs and very much feared by his people. Has neverthe less shrewd notions of developing his State.'[Albumen print, 117x175mm]. Half-length portrait of the couple, taken with Egerton's stereoscopic camera. Half-length portrait of the Professor of Hindustani at Addiscombe. Half-length portrait of the two men, with hills in background.[Gelatin silver print, 141x92mm]. Half-length portrait of the young man, taken at the Mission's departure from Lhasa. 'By soon after 9 we were all packed up and ready to go - Ringang came in to say goodbye and then went off to his work. At the appointed hour of 10 we started off, with young George Tsarong as escort. Otherwise there were no farewells at Deki Lingka, the Tibetans having the sensible habit of getting farewells over a day or two before departure, and then letting one depart in peace.' (Lhasa Mission Diary, 17 February 1937).[Gelatin silver print, 103x156mm]. Half-length portrait seated at a desk. Half-length seated cabinet portrait of George Alfred Lefroy (1854-1919), Bishop of Lahore 1899-1912 and of Calcutta 1913-19.[Albumen print, 100x143mm]. Half-length seated cabinet portrait of the couple. On the reverse is inscribed: 'Golden Wedding. Febry 15th 1844 - Febry 15th 1894 - Richard Dane Sophie Dane'. Half-length seated carte de visite portrait, a detail of a larger portrait. Half-length seated carte-de-visite portrait, in uniform. Probably photographed at Poona. Half-length seated carte-de-visite portrait, presumably the wife of Henry Smith Daniell. Half-length seated carte-de-visite portrait, with dog on lap.[Albumen print, 58x92mm]. Half-length seated carte-de-visite portrait.[Albumen print, 53x86mm]. Half-length seated carte-de-visite portrait of Arthur Robertson, son of George and Laura Robertson.[Albumen print, 60x90mm]. Half-length seated carte-de-visite portrait of Dr Hicks, husband of Emily Shaw.[Albumen print, 60x90mm]. Half-length seated carte-de-visite portrait of Gotlieb James Van Someren (1842-1915), Madras Army: 'Mr Van Someren of the Forest Department, an active and energetic young fellow, who exerted hmself very creditably in the service of government, and with a fair amount of success.' Half-length seated carte-de-visite portrait of Sher Ali, handcuffed. A convict in the Andaman Islands penal settlement, he stabbed and killed Lord Mayo during the Viceroy's official visit to Port Blair in February 1872. Half-length seated daguerreotype portrait of an unidentified young man in uniform. With some light hand colouring. Half-length seated oval carte-de-visite portrait of Sher Ali, handcuffed. Half-profile, looking off to right. Half-length seated oval portrait. Photograph on porcelain. H.M. 52nd Light Infantry. Military Secretary to Viceroy, 1862-9. Half-length seated portrait, full-face. Half-length seated portrait, half-profile, in cadet's uniform.[Albumen print, 117x145mm]. Half-length seated portrait, hands clasped behind head. Half-length seated portrait, in a garden, probably at Chingleput [Chengalpattu]. He holds a copy of The British Journal of Photography. in his right hand. Half-length seated portrait, in civilian clothes, of Lieut Benjamin Vaughn Arbuckle, Bengal Artillery. A faded and yellowed print.[Albumen print]. Half-length seated portrait, in civilian dress.[Albumen print, oval image]. Half-length seated portrait, in half-profile.[Albumen print, oval image]. Half-length seated portrait, in military uniform.[Albumen print]. Half-length seated portrait, in military uniform.[Salt print]. Half-length seated portrait, in profile, wearing a richly-embroidered coat, a black wool hat and with his right hand holding a sword. For another copy of this print, see Photo 27 (23). See also note at Photo 27 (24).[Albumen print, 203x215mm]. Half-length seated portrait, in profile, wearing a turban and European civilian clothes.This is probably Frederick Campbell Gostling, 5th Regiment of Light Cavalry, killed at Nagura in April 1858. Second copy neg at B.5055.[Albumen print]. Half-length seated portrait, in uniform, of Captain George Alexander Renny (1825-1887), Bengal Artillery. He won the VC during the Indian Mutiny. Faded print.[Albumen print]. Half-length seated portrait, in uniform.[Albumen print]. Half-length seated portrait, in uniform. Hand-coloured and framed. General Sir James Abbott was Commissioner of Hazara from 1845-53. Half-length seated portrait, in uniform. Second copy neg at B.8718.[Albumen print]. Half-length seated portrait, in uniform. Half-length seated portrait, in uniform of George Lamb, Bengal Artillery. Half-length seated portrait, lightly hand-coloured. Half-length seated portrait, no identification. Half-length seated portrait, possibly a copy of an engraving. Half-length seated portrait, print cropped into an oval. Half-length seated portrait, probably taken at Lucknow. Half-length seated portrait, similar to print 40, but a larger image. 'Hat of black felt with crown of gold filigree and band of same. Flaps of felt with black fur underneath to protect forehead, ears and back of neck in cold weather. Earrings of turquoises, gold and one pearl, with large ring of gold holding it in the ear. The lowest end, the long thin one, in accordance with custom, is not turquoise but a composition. Robe (chu-pa) of red-brown (gya-muk) Chinese brocade with designs representing dragons and clouds. Waistband of thin Chinese silk, light green in colour.' Half-length seated portrait, wearing hand-cuffs, of the assassin of the Viceroy Lord Mayo in 1872. The murderer was a convict in the penal settlement who attacked Lord Mayo who was on an official visit to the Andaman Islands. This appears to be a later print from the original negative. Half-length seated portrait, with attendant standing behind. See note at print 89.[Gelatin silver print, 92x141mm]. Half-length seated portrait, with dog, of Mrs and Mrs NcNair. J.W.F. McNair was Chief storekeeper ofr the Mu Valley State Railway.[Albumen print, 90x106mm]. Half length seated portrait, with signature. Second copy neg at B.1606. Half length seated portrait, with signature. Second copy neg at B.6362. Half length seated portrait, with signature. Half-length seated portrait. 'We lunched with the Yapshi Phunkang Kung (Duke) who is accompanying the Regent on his forthcoming visit to the Samye monastery. Tsarong Dzasa was present and we had a quiet friendly party.' (Lhasa Mission Diary, 30 September 1936).[Gelatin silver print, 155x104mm]. Half-length seated portrait.[Albumen print, 122x140mm]. Half-length seated portrait.[Albumen print, 98x120mm]. Half-length seated portrait.[Albumen print, oval image]. Half-length seated portrait.[Albumen print]. Half-length seated portrait. Carte-de--visite size, but unmounted.[Albumen print, 55x90mm]. Half-length seated portrait. Not British Library copyright. Half-length seated portrait. Photographic copy of a drawing. Half-length seated portrait. Photographic copy of a painted portrait.[Gelatin silver print, 138x206mm]. Half-length seated portrait. Half-length seated portrait. Half-length seated portrait. Half-length seated portrait. Half-length seated portrait. Half-length seated portrait. Half length seated portrait. Half-length seated portrait. Half-length seated portrait. Half-length seated portrait. Half-length seated portrait in profile, wearing a black woollen hat, an elaborately patterned coat and grasping a sword in his right hand. A portrait taken on the same occasion as print 24 (qv), and almost certainly the photograph referred to in Baker & Burke's 1872 catalogue as no.3 in the series of 'Photographs of Amir Shere Ali Khan and Suite...The Amir, sitting. Large size. Head in profile'. For another copy of this print, see Mss Eur F197/37 (40). For a similar portrait taken at the same sitting, see Photo 50/1 (40).[Albumen print, 204x254mm]. Half-length seated portrait of Achi Pelden. Half-length seated portrait of Amar Singh (c.1850-1909), Chief Minister of Kashmir from 1905, and Ram Singh (d.1899), the second son of Maharaja Ranbir Singh. Probably photographed at Srinagar. Half-length seated portrait of an Indian. Half-length seated portrait of Charles Paget Carmichael. Half-length seated portrait of Dr Hicks, husband of Emily Shaw.[Albumen print, 60x90mm]. Half-length seated portrait of Edward Huthwaite. Half-length seated portrait of Edward Prince of Wales.[Albumen print, 96x136mm]. Half-length seated portrait of Henry Day Fowler. Half-length seated portrait of Herbert Taylor Macpherson. Half-length seated portrait of J.W. Paul, Indian Navy. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, oval vignette, approx. 80x100mm]. Half-length seated portrait of John William Younghusband (1823-1907). Probably photographed at Kangra.[Albumen print, 101x127mm]. Half-length seated portrait of Joseph William Hughes. Half-length seated portrait of Lieut-Col (later General Sir) Samuel James Browne (1824-1901), Bengal Army. Second copy neg at B.8696.[Albumen print]. Half-length seated portrait of Madan Singh. Half-length seated portrait of Maharaja Rarendra Kishor Singh (d.1883).[Albumen print, 98x134mm]. Half-length seated portrait of Matthew William Edward Gossett. Half-length seated portrait of Professor Jonathon Cape. Half-length seated portrait of R. Bazett (b.1839), Bengal Engineers. Half-length seated portrait of Rev Alfred Wrigley (1818-1898), Professor of Mathematics at Addiscombe 1841-61.[Albumen print, 145x182mm]. Half-length seated portrait of Sir Lachhmeswar Singh (1856-?1898), Maharaja of Darbhanga from 1860 (succeeded as minor).[Albumen print, 98x134mm]. Half-length seated portrait of Sir Madhava Rao Sindhia (1876-1925), Maharaja of Gwalior, succeeded as minor 1886, ruled 1894-1925. He wears the Star of India on his jacket.[Gelatin silver print, signed 'Madhava December 1900', mounted on board stamped ' Johnston & Hoffmann Calcutta & Simla', 202x315mm]. Half-length seated portrait of Sir Robert Bateson Harvey (1825-1887), M.P. for Bucks, 1863-68 and 1874-85.[Albumen print, 99x120mm]. Half-length seated portrait of Sir William Muir. Half-length seated portrait of Sulivan James Becher? Half-length seated portrait of the Chief Commissioner of Oudh of 1859. This is not a carte-de-visite photograph but rather a print that has been cropped and folded to fit the aperture. Half-length seated portrait of the Hail Lama. Half-length seated portrait of the thirteenth Dalai Lama, Nga-wang Lop-sang Tup-den Gya-tso (1876-1933). Copy print: 'The original is said to have been taken by one of the Nepalese photographers in Lhasa by the Dalai Lama's order a fortnight or so before the Dalai Lama passed 'to the heavenly fields'. This print was photographed by Pyne from a print in the possession of Pa-lha Ku-sho of Pen-jor Lhun-po.' Half-length seated portrait of the two young men. Half-length seated portrait of the wife of J.H. Batten (see print 85).[Albumen print]. Half-length seated portrait of the young boy. Half-length seated portrait of unidentified Mongolian man, in secular rather than religious dress. There is an inscription in Mongolian with Tibetan transliteration on the mount (untranslated). With date '1927' in Arabic numerals. Half-length seated studio portrait, in civil service uniform. Photograph on porcelain. Assistant in office of Private Secretary to the Viceroy, 1869-80. Registrar, office of Private Secretary to the Viceroy, 1880-95. Assistant Private Secretary to the Viceroy, 1895-1904. Half-length seated studio portrait, in civil service uniform. Private Secretary to the Marquess of Linlithgow, 1936-43; Secretary to the Governor-General, 1937-43. Half-length seated studio portrait. Half-length seated studio portrait. Half length seated studio portrait of Lord Curzon with his daughters Irene (left) and Cynthia (right) on either side of him. Oval image; mounted platinum print. Half-length seated vignette portrait of the Reverend Alexander Dunbar Nicolson. Half-length snapshot portrait; circular image. Poor quality. Half-length standing. Half length standing cabinet portrait. Half-length standing carte-de-visite portrait, in uniform. Duplicate at print 111. Half-length standing carte-de-visite portrait, in uniform. Duplicate at print 152. Half-length standing carte-de-visite portrait, in uniform. Half-length standing carte-de-visite portrait.[Albumen print, 60x90mm]. Half-length standing oval portrait of the Revd. W.H. Johnstone. Half-length standing portrait, in uniform, of Robert Percival Pennefather, Madras Engineers, 1859-85. Duplicate at Photo 799 (30). Half-length standing portrait. 'Jetsun Kusho called today. She is a sister of Dorje Phagmo (the Thunderbolt Sow) the only woman incarnation in Tibet. She is a shy, little, old nun and has come to Lhasa from Samding, where she lives with Dorje Phagmo, to look after a brother who is ill.' (Lhasa Mission Diary, 12 October 1936).[Gelatin silver print, 104x156mm]. Half-length standing portrait. Half-length standing portrait. Half-length standing portrait. Half-length standing portrait. Half-length standing portrait. Half-length standing portrait of Muhammad Ibrahim Ali Khan. The Nawab met Curzon at Devli on the morning of the 13th November, 1902. Half-length standing portrait of the three women. Mary Jigme, the wife of Jigme Depon, was educated in Darjeeling.[Gelatin silver print, 158x107mm]. Half-length standing studio portrait, carte-de-visite size. Duplicates at Photo 430/74 (15) and print 119. Half-length standing studio portrait, in civil service uniform. Assistant Private Secretary to Lord Chelmsford, 1918-9. Half-length standing studio portrait, in civil service uniform. Half-length standing studio portrait, in military uniform. Half-length studio portrait, half-profile. Half-length studio portrait, in civil service uniform. Assistant Private Secretary to the Marquess of Linlithgow, 1938-40. Half-length studio portrait, in military uniform. Half-length studio portrait, in uniform. Signed 'Douglas Baird 1929'.[Gelatin silver print, 115x168mm]. Half-length studio portrait.[71x102mm]. Half-length studio portrait.[Gelatin silver print, 154x203mm]. Half-length studio portrait. Mounted oval print bearing the blind-stamp of the photographer. Half-length studio portrait. Photo-etching by the Survey of India Department, Calcutta, from an original photograph by Bourne & Shepherd, published November 1888. Half-length studio portrait. Half-length studio portrait. Half-length studio portrait. Half-length studio portrait. Half-length studio portrait. Half-length studio portrait. Half-length studio portrait against a studio backdrop of trees.[Gelatin silver print, oval image, 66x91mm]. Half-length studio portrait of Lord Dufferin, Viceroy of India, 1884-88. Photo-etching by the Survey of India Department, Calcutta, from an original photograph by Johnston & Hoffmann, published January 1889. Half-length studio portrait of Sir Clarmont Skrine.[Gelatin silver print, 109x153mm]. Half-length studio portrait of William Thomas Ottewill (1878-1941), India Office, Home Office Staff 1898-1939, Superintendent of Records 1926-39.[Gelatin silver print (modern copy), 139x204mm]. Half-length vignetted carte de visite portrait, in sports clothes. Half-length vignette portrait of the Reverend John Burton D'Aguilar, Chaplain at Roorkee in 1860. Half-lenth portrait. Probably a copy of an earlier photograph.[Oval image, 68x102mm]. Hamilton standing beside camel. Hand-coloured albumen print. Full-length standing studio portrait. Hand-coloured group portrait of four cadets, identified as: Fitzherbert Coddington (1838-1889); (Sir) Henry Ravenshaw Thuillier (1838-1922), Surveyor-General of India 1886-95; Keith Alexander Jopp, Bombay Engineers 1857-91; Alexander Gordon Cumming. Reproduced in 'Journal of the Society for Army Historical Research', vol. XXXIII.[Albumen print, hand-coloured, 150x190mm]. Hand-coloured postcard. Hand-coloured studio portrait. Full-length standing holding a robe. The print is signed in the bottom right corner: 'With kindest regards, Udaji Rao Ponwar, 28th October, 1922'. Although dated 1922 and in the possession of Lord Reading, the photograph was taken nearer the time of Lord Hardinge's visit to Dhar in November 1912. A duplicate of this print, with some variations in the colouring, is at Photo 10/13 (1). Hand-coloured studio portrait. Modern inscription on verso reads: 'Born in Lower Mitcham, Surrey, on 31.5.1850. Died in Lucknow, India, on 25.1.1882. Her parents were James and Hannah Holmes. Amelia was an artist and married J.E. Sach�, a widower, in England, in the early 1870s. He was a photographer in Lucknow, India. Amelia died in 1882 at Lucknow, leaving two young children. Sach� retired soon after, and left India. Amelia's brother, William D. Holmes, and his wife Emily Lilly (ne� Bezzant), went to India about 1876 to work with Sach�. When Sach� retired, W.D. Holmes set up his own photographic business. In 1890 he moved the business to Peshawar at 100 St John's Road. In 1912, he moved his business to 60 Raquet Court Road and retired in 1920'. Hand-coloured studio portrait. Haynes, in uniform, on horeseback. Head-and-shoulder carte-de-visite portrait, dated 1869 in pencil on mount. Head and shoulder full face cabinet portrait. Head and shoulder oval carte-de-visite portrait. Second copy neg at B.21588. Head and shoulder portrait. Personal Secretary to the Viceroy Mar-Aug 1947 and Private Secretary to the Governor-General Aug 1947-8. Head-and-shoulder portrait of General Robert Stanwix Robertson (d. 1913).[57x85mm]. Head and shoulder profile cabinet portrait. Probably taken at Shimla. Head and shoulders, full-face portrait. Head and shoulders, full-face portrait of Rabden Lepcha. Head and shoulders, full face studio portrait. Head and shoulders, taken on the same occasion as print 52. Head-and-shoulders (vignetted oval image) carte-de-visite portrait of Kenneth Murray (1831-1901), brother of Colin Murray and also a photographer with Bourne & Shepherd. Kenneth Murray was established as a commission agent at Agra in 1857. He appears to have joined Bourne & Shepherd in around 1868 and in subsequent years managed their studios variously in Calcutta, Simla and Bombay. He died at Simla on 20 September 1901.[Albumen print, 58x95mm]. Head and shoulders cabinet portrait, in military uniform. Head-and-shoulders cabinet portrait, inscribed 'In grateful remembrance D. Brandis, Dec 1889.' Sir Dietrich Brandis (1824-1907) served in the Indian Forestry Department from 1856-83 and was Inspector-General of Indian Forests 1864-82.[Albumen print, 104x158mm]. Head-and-shoulders cabinet portrait, taken on the same occasion as and similar to prints 27-28.[Albumen print, 98x140mm]. Head and shoulders cabinet portrait. Head and shoulders cabinet portrait. Head-and-shoulders cabinet portrait. Two copies.[Albumen print, 101x146mm]. Head-and-shoulders cabinet portrait. Two copies.[Albumen print, 99x140mm]. Head-and-shoulders cabinet portrait of General Sir Harry North Dalrymple Prendergast (1834-1913), Royal (Madras) Engineers. Included in the file is an off-print of Henry Vibart's obituary memoir from 'The Royal Engineers Journal', October 1913.[Albumen print, 102x145mm]. Head-and-shoulders cabinet portrait of John Russell Colquhoun Colvin, Indian Army 1879-1908.[Albumen print, 101x142mm]. Head-and-shoulders cabinet portrait of Sir Steuart Colvin Bayley (1836-1925), Chief Commissioner of Assam 1878-80, Resident at Hyderabad 1881-82, Lieutenant-Governor of Bengal 1887-90.[Albumen print, 103x146mm]. Head and shoulders cabinet size studio portrait, on card mount. Head and shoulders carte de visite portrait, dated 1872 on mount. She wears the order of the Star of India. Head and shoulders carte-de-visite portrait, full face. Oval image. Richard Stewart Dobbs, 'the oldest superintendentof my time...a connection of Lady William Bentinck...an impulsive and high-minded, but rather fanatical Irishman, who combined a great ardour for work with an extravagant zeal for preaching...He had a profound belief in his own ability to settle all disputes in his division by what he called a personal enquiry on the spot, but his unwritten decisions, hastily arrived at on the spot, frequently merely perpetuated standing quarrels. As a young man, he laboured indefatigably to improve the condition of the portion of the province under his management, repaired tanks, laid out roads, and showed such a knowledge of revenue details that the Raja called him 'the old Gauda' (headman of a village.'[Albumen print, oval image, 50x72mm]. Head and shoulders carte de visite portrait, in sporting clothes. Head-and-shoulders carte-de-visite portrait, oval image, a detail from a larger portrait. For a copy of the uncropped version of this photograph, which shows Sir Drigbijai Singh surrounded by attendants, see Mss Eur G.38/2 (103i). Head and shoulders carte-de-visite portrait, oval image, vignetted. Head and shoulders carte-de-visite portrait, oval image. Probably taken in Calcutta. Head-and-shoulders carte-de-visite portrait, oval image. Head-and-shoulders carte-de-visite portrait, probably taken at Calcutta.[Albumen print, 57x92mm]. Head and shoulders carte-de-visite portrait, probably taken on the same occasion as the preceding print. Head-and-shoulders carte-de-visite portrait, taken on the same occasion as prints 30-31.[One albumen print, 58x90mm; one gelatin silver print, 63x92mm]. Head-and-shoulders carte-de-visite portrait, vignetted. Head and shoulders carte-de-visite portrait, vignetted image. Head and shoulders carte-de-visite portrait; oval image, vignetted. Head and shoulders carte-de-visite portrait. '...Remarkable for his sound judgement and impartiality, which, joined to considerable abilities, gave him well-deserved influence. he was the son of Sir John Campbell, known for his management of the Khonds in the Orissa country, who must have been however a very prejudiced person, for he resented his son's marriage, and could not bring himself to be reconciled to the latter's wedding, without his approval having first been obtained...' Head-and-shoulders carte-de-visite portrait.[Albumen print, 40x60mm]. Head-and-shoulders carte-de-visite portrait.[Albumen print, 58x91mm]. Head-and-shoulders carte-de-visite portrait.[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait.[Albumen print, oval image, 52x75mm]. Head-and-shoulders carte-de-visite portrait.[Albumen print]. Head and shoulders carte-de-visite portrait. No biographical information. Head and shoulders carte de visite portrait. Oval image. Head and shoulders carte-de-visite portrait. Probably photographed in Bombay. Head and shoulders carte de visite portrait. Second copy neg at B.1423. Head-and-shoulders carte-de-visite portrait. Head-and-shoulders carte-de-visite portrait. Two copies, one very faded.[Albumen print and siver printing-out paper, 58x91mm and 58x87mm respectively]. Head and shoulders carte-de-visite portrait. Wright died in 1863. Head and shoulders carte-de-visite portrait (oval image) of A.W. Chill, an advocate in Burma. Head and shoulders carte-de-visite portrait (oval image) of Rebecca Chill, wife of A.W. Chill. Head-and-shoulders carte-de-visite portrait of Alfred Baker, presumably the son of Rev. Frederick and Fanny Baker.[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of Alfred Younghusband, presumably the son of General Robert Romer Younghusband by his first wife Ethel (d. 1865).[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of Alice Baker, presumably the daughter of the Rev. Frederick and Fanny Baker.[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of an unidentified man.[Albumen print, 55x90mm]. Head-and-shoulders carte-de-visite portrait of Arthur Delaval Younghusband, the son of Robert Romer Younghusband, by his first wife Ethel (d. 1865).[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of Captain William Gordon Ross, Royal Engineers 1862-99. The reverse of the print is stamped with the logo of Sach� and Murray, but with Murray's name crossed out. The firm of Sach� and Murray is listed in the 'Times of India Calendar and Directory' as trading in Rampart Row, Bombay in 1869.[Albumen print, oval image, 42x57mm]. Head-and-shoulders carte-de-visite portrait of Charles Russell Pulford (1845-1920), Royal Engineers from 1866, entered Indian Department 1870, Chief Engineer, Indian Public Works Department 1899-1901. Probably photographed in Calcutta.[Albumen print, oval image, 44x63mm]. Head-and-shoulders carte-de-visite portrait of Clara, daughter of Serjeant Edward Bellasis.[Albumen print, vignetted oval image, 55x91mm]. Head-and-shoulders carte-de-visite portrait of Colonel Everard Stepney Milman (b. 1832), Madras Artillery 1849-72.[Albumen print, oval image, 52x75mm]. Head-and-shoulders carte-de-visite portrait of Colonel Frederick Bailey. Probably photographed at Calcutta.[Albumen print, 58x94mm]. Head-and-shoulders carte-de-visite portrait of Edward Bowring (1869-1885), son of Lewin and Katharine Bowring.[Albumen print, vignetted image, 56x96mm]. Head-and-shoulders carte-de-visite portrait of F.M. Bailey's uncle Arthur. Probably photographed at Calcutta.[Albumen print, 58x93mm]. Head-and-shoulders carte-de-visite portrait of Flory, daughter of George and Laura Robertson.[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of Frederick Marshman Bailey as a young child.[Albumen print, 58x92mm]. Head-and-shoulders carte-de-visite portrait of General Robert Romer Younghusband (1819-1905).[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of George Alfred Lefroy (1854-1919), Bishop of Lahore 1899-1912 and of Calcutta 1913-19.[Albumen print, 58x93mm]. Head-and-shoulders carte-de-visite portrait of George Baker, presumably the son of the Rev. Frederick and Fanny Baker.[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of George William Macauley (b. 1828), Bombay Army 1846-70.[Albumen print, oval image, 53x77mm]. Head-and-shoulders carte-de-visite portrait of Lady Katherine Brandis, second wife (married 1867) of Sir Dietrich Brandis. Probably photographed at Calcutta.[Albumen print, oval image, 52x72mm]. Head-and-shoulders carte-de-visite portrait of Lieutenant-Colonel Charles Brodie Forman Penny, Royal (Bombay) Engineers 1854-82.[Albumen print, 57x90mm]. Head-and-shoulders carte-de-visite portrait of Major-General Sir Herbert Benjamin Edwardes (1819-1868), Bengal Army. Edwardes was Commissioner, Peshawar Frontier 1853-59 and Commissioner, Ambala 1862-65.[Albumen print, 55x88mm]. Head-and-shoulders carte-de-visite portrait of Nellie Baker, presumably the daughter of the Rev. Frederick and Fanny Baker.[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of Professor Johann Georg B�hler (1837-1898), Orientalist, Professor of Oriental Languages, Elphinstone College, Bombay, 1863; Superintendent of Sanskrit Studies, Poona 1866; Professor of Sanskrit and Indian Antiquities, University of Vienna 1837-98. B�hler was drowned in a boating accident on Lake Constance and the portrait is contained in a file relating to contributions to a memorial issue of 'The Indian Antiquary' (December 1898), edited by Sir Richard Carnac Temple. This portrait is reproduced in the memorial issue.[Albumen print, 61x91mm]. Head-and-shoulders carte-de-visite portrait of Ram Singh, Maharaja of Jaipur 1835-80. [Albumen print, vignetted oval image, 58x90mm]. Head-and-shoulders carte-de-visite portrait of Rev. Frederick Baker, husband of Fanny Shaw.[Albumen print, 60x90mm]. Head-and-shoulders carte-de-visite portrait of Richard Hugh Stotherd (d. 1895), Royal Engineers 1847-86.[Albumen print, vignetted oval, 33x41mm]. Head-and-shoulders carte-de-visite portrait of Sir Dietrich Brandis (1824-1907), Inspector-General of Forests, India 1864-83. Probably photographed at Calcutta.[Albumewn print, 58x92mm]. Head-and-shoulders carte-de-visite portrait of the photographer Samuel Bourne (1834-1912), taken after his return to England.[Albumen print, 58x90mm]. Head-and-shoulders daguerreotype portrait of a young man, lightly hand-coloured. Oval image, 17x20mm. Head and shoulders full face portrait, circular image. Head and shoulders full face portrait, oval image. Head and shoulders full face portrait, the print cut into a heart shape. Head-and-shoulders full face portrait.[Gelatin silver print, 150x198mm]. Head and shoulders full-face portrait. Oval image. Sir Salar Jang (1829-1883) was Prime Minister of Hyderabad 1853-83.[Albumen print, 93x120mm]. Head and shoulders full-face portrait. Head and shoulders full-face portrait. Head and shoulders full-face portrait. Head and shoulders full face studio portrait, in military uniform. Head and shoulders full face studio portrait, oval image. Head and shoulders full-face studio portrait. For other copies of this print, see Photo 98 (1), Photo 449/2 (28) and Mss Eur F197/37 (41). This last example, an enlarged carbon print, is the best copy of this portrait.[Albumen print]. Head-and-shoulders full face studio portrait of Major-General Sir Arthur Wigram Money (1866-1951), Royal Artillery, in military uniform. Head and shoulders half-profile cabinet portrait. [Albumen print, 100x143mm]. Head and shoulders half-profile carte de visite portrait. Head-and-shoulders half-profile carte-de-visite portrait of Captain (later Sir) Henry Ravenshaw Thuillier (1838-1922), Royal (Bengal) Engineers 1857-95, Surveyor-General of India 1886-95.[Albumen print, 55x90mm]. Head and shoulders half-profile portrait, inscribed on mount: 'To Neil Pritchard, with happy memories of our association at 50 Upper Mount St. Dublin April 5 '49.' Head and shoulders half-profile portrait. Head and shoulders half-profile portrait. Head-and-shoulders half-profile portrait of Katharine Bowring, second wife of Lewin Bentham Bowring.[Silver printing-out paper, 94x114mm]. Head-and-shoulders half-profile portrait of Major James Shaw Gibb (1830-1877), Bengal Artillery 1847-72. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, vignetted oval, approx. 72x85mm]. Head-and-shoulders half-profile studio portrait of Sir Clarmont Skrine.[Gelatin silver print, 92x124mm]. Head-and-shoulders half-profile vignetted portrait of Annette Charlotte Close (1837-1910), dedicatee of this album. Probably photographed at Abbottabad.[Albumen print, 100x110mm]. Head and shoulders half-profile vignetted studio portrait. Head and shoulders marble bust. Head and shoulders oval carte-de-visite portrait, wearing jockey's kit. Head and shoulders oval carte-de-visite portrait. Possibly the wife of Arthur Hogg. Head and shoulders oval carte-de-visite portrait. Probably photographed in Bombay. Head and shoulders oval carte-de-visite portrait. The date appears to be earlier than given in the (modern) pencilled caption. Head and shoulders oval carte-de-visite portrait of a young woman, no biographical details supplied. Head and shoulders oval carte-de-visite portrait of the wife of Colonel Roberts Michael Westropp, Bombay Army. Head and shoulders oval carte-de-visite portrait of the wife of Colonel William Henry James Stopford. Head and shoulders oval portrait, in civil service uniform. Photograph on porcelain. Private Secretary to Lord Ellenborough, 1842-4. Head and shoulders oval portrait, in uniform, of either Harry M. Mackenzie or Harry L. Mackenzie, probably the latter. Head and shoulders oval portrait, in uniform. Photograph on opaque glass pane, badly broken and repaired. Assistant Private Secretary to Lord Hardinge, 1910-4. Head and shoulders oval portrait, photographic copt of an oil painting. Head and shoulders oval portrait, with signature. Head and shoulders oval portrait. Head and shoulders oval portrait. Head and shoulders oval portrait. Head and shoulders oval portrait. Head and shoulders oval studio portrait, in uniform. Photograph on opaque glass pane, broken and repaired. 10th Baluch Regiment (Queen Mary's Own). Head and shoulders oval studio portrait, in uniform. Photograph on porcelain. 10th Hussars. Military Secretary to Lord Curzon, 1899-1905. Head and shoulders oval studio portrait, in uniform. Photograph on porcelain. Assistant, Bengal Secretariat, 1849-52; Registrar,Office of Private Secretary to the Viceroy, 1853-76. Assistant Private Secretary to the Viceroy, 1877-95. Head and shoulders oval studio portrait, in uniform. Photograph on porcelain. Central India Horse. Military Secretary to the Earl of Elgin, 1894-9. Head and shoulders oval studio portrait, in uniform. Photograph on porcelain. Military Secretary to Lord Hardinge of Penshurst, 1910-6. Head and shoulders oval studio portrait, in uniform. Photograph on porcelain. Military Secretary to the Earl of Lytton, 1880. Head and shoulders oval studio portrait, in uniform. Photograph on porcelain. Private Secretary to the Earl of Minto, 1905-10. Head and shoulders oval studio portrait, in uniform. Photograph on porcelain. Private Secretary to the Marquess of Lansdowne, 1888-94. Head and shoulders oval studio portrait. Photograph on porcelain. Ceylon Civil Service. Private Secretary to Lord Canning 1856-8 and Lord Stanley, 1858. Head and shoulders oval studio portrait. Photograph on porcelain. ICS 1843-70. Private Secretary to Lord Canning 1858-62. Head and shoulders oval vignette. Head and shoulders oval vignetted portrait. Head and shoulders oval vignette portrait, considerably faded and with some retouching to eyes. Appears to be the brother of Sir George Campbell. Head and shoulders oval vignette portrait. Head-and-shoulders porrait, in frame with tartan pattern. For other copies of this portrait see prints 30-31.[45x75mm]. Head and shoulders portait. Not British Library copyright. Head and shoulders portrait, circular image, in profile. Dating on the reverse of the print has been changed to read 1915: if this is correct, print 33 was also taken in 1915. Duplicate at print 329. Head and shoulders portrait, circular image. Head-and shoulders portrait, circular image mounted on card with photographer's stamp and Burmese inscription. Accompanying notes (presumably translated from the Burmese text) give the date as 9 Nayon 1272 (Burmese era), 22 April 1909. The Tinda Princess was the daughter of the prominent minister named Tinda, who had advocated fighting the invading British forces in 1885.[Printing-out paper, 102x102mm]. Head and shoulders portrait, copy of a painting. Head and shoulders portrait, dated on the verso as 'Nov 1909' but signed 'Olaf K. Caroe, Sept 1910'. Caroe was the Governor of the NWFP in 1946. Head and shoulders portrait, facing left. Head-and-shoulders portrait, full face. Annotated in pencil on mount, 'Quite good'.[Brown toned casrbon print, 141x200mm]. Head and shoulders portrait, full-face. Probably taken on the same occasion as prints 40-41, although here he wears a jacket of different design (and a different one again in print 7). Head and shoulders portrait, full face. Head and shoulders portrait, full-face. Head and shoulders portrait, half-profile. Head-and-shoulders portrait, half-profile facing left, in military uniform.[Gelatin silver print, on photographer's mount, 102x145mm]. Head-and-shoulders portrait, in civilian suit, probably taken in Calcutta.[98x142mm]. Head and shoulders portrait, in civil service uniform. Deputy Private Secretary to the Marquess of Linlithgow, 1939-43. Head-and-shoulders portrait, in half-profile.[Gelatin silver print, 149x200mm]. Head-and-shoulders portrait, in half-profile facing to the left. Photographed either in Calcutta or Darjeeling. Annotated in pencil on mount, 'This is really the best likeness - Exactly as he was up to the end.'[?Matt collodion printing-out paper, on photographer's mount, 103x143mm]. Head-and-shoulders portrait, in military cap, autograph reproduced below print.[92x123mm]. Head-and-shoulders portrait, in military uniform, wearing medals.[Silver printing-out paper, inscribed on card mount 'With joyful greetings and wishes for the New Year', 214x305mm]. Head-and-shoulders portrait, in military uniform.[Oval image, 48x66mm]. Head-and shoulders portrait, in uniform, of Captain Alexander Francis Inglis (b. 1881), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain Arthur Montague Rundall (b. 1878), Indian Army.[Gelatin silver print, oval image, 88x125mm]. Head-and shoulders portrait, in uniform, of Captain Barton Edward Anderson (b. 1881), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain Charles Temple Morris (b. 1876), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain E.C. Tylden-Pattenson, British Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain Edward Patrick Alexander Melville (b. 1880), Indian Army.[Gelatin silver print, oval image, 88x125mm]. Head-and shoulders portrait, in uniform, of Captain Francis William Hallowes (b. 1866), Indian Army.[Gelatin silver print, oval image, 87x126mm]. Head-and shoulders portrait, in uniform, of Captain G.G.W. Corrie, British Army.[Gelatin silver print, oval image, 88x125mm]. Head-and shoulders portrait, in uniform, of Captain George Alfred McWatters (b. 1875), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain George Charles Scott Kerans (b. 1877), Indian Medical Service.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain Harry Durie Cloete (b. 1882), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain Hugh William Knox-Niven (b. 1876), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain Ivan Urmston Battye (b. 1875), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Captain Sidney Morton (b. 1876), Indian Army.[Gelatin silver print, oval image, 88x127mm] Head-and shoulders portrait, in uniform, of Captain William Basil Pope Tugwell (b. 1881), Indian Army.[Gelatin silver print, oval image, 87x126mm]. Head-and shoulders portrait, in uniform, of Captain William Francis Richmond Webb (b. 1883), Indian Army.[Gelatin silver print, oval image, 87x126mm]. Head-and shoulders portrait, in uniform, of Captain William Henry Ralston (b. 1883), Indian Army.[Gelatin silver print, oval image, 88x127mm]. Head-and shoulders portrait, in uniform, of Colonel Michael Joseph Tighe (b. 1864), DSO, Indian Army.[Gelatin silver print, oval image, 97x140mm]. Head-and shoulders portrait, in uniform, of Colonel William George Lawrence Beynon (1866-1955), Indian Army.[Gelatin silver print, oval image, 87x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Arthur Thomas Grafton Beckham (b. 1886), Indian Army.[Gelatin silver print, oval image, 88x127mm]. Head-and shoulders portrait, in uniform, of Lieutenant Bala Sahib Daphle (b. 1883), Indian Army.[Gelatin silver print, circular image, 102x102mm]. Head-and shoulders portrait, in uniform, of Lieutenant Christopher Thomas Marshall-Smith (b. 1885), Indian Army.[Gelatin silver print, oval image, 88x127mm]. Head-and shoulders portrait, in uniform, of Lieutenant Colonel Robert Balman Low (b. 1864), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Edward Rolleston Palmer Berryman (b. 1883), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Edward Seymer Woodward (b. 1884), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Eric Garnett Atkinson (b. 1887), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Etienne Bessonnet Mangin (b. 1884), Indian Army.[Gelatin silver print, oval image, 88x127mm]. Head-and shoulders portrait, in uniform, of Lieutenant Harvey St George Hume Harvey-Kelly (b. 1880), Indian Army.[Gelatin silver print, oval image, 88x127mm]. Head-and shoulders portrait, in uniform, of Lieutenant J.B.W. Hay, Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant John Arthur Claude Kreyer (b. 1883), Indian Army.[Gelatin silver print, oval image, 96x142mm]. Head-and shoulders portrait, in uniform, of Lieutenant John Gage Lecky (b. 1883), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant John Reginald Vivian Sherston (b. 1888), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Joseph Stransharm Oldham (b. 1882), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Montague Wace (b. 1884), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Philip Fell Pope (b. 1881), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant Stephen Ussher (b. 1882), Indian Army.[Gelatin silver print, oval image, 96x141mm]. Head-and shoulders portrait, in uniform, of Lieutenant Thomas Owen Wilkinson (b. 1883), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Lieutenant W.H. Furlonger, British Army.[Gelatin silver print, oval image, 88x127mm]. Head-and shoulders portrait, in uniform, of Lieutenant William Robert Clavey Griffith (b. 1884), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Major Bertram Price Ellwood (b. 1872), Indian Army.[Gelatin silver print, oval image, 88x125mm]. Head-and shoulders portrait, in uniform, of Major Edward Augustus Wood Stotherd (b. 1864), Indian Army.[Gelatin silver print, oval image, 96x141mm]. Head-and shoulders portrait, in uniform, of Major Edward Mary Joseph Molyneux (1866-1913), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Major Frederick William Thomas (b. 1870), Indian Army.[Gelatin silver print, oval image, 87x126mm]. Head-and shoulders portrait, in uniform, of Major G.E. Pigott, British Army.[Gelatin silver print, oval image, 96x140mm]. Head-and shoulders portrait, in uniform, of Major Gilbert Bailey (b. 1869), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Major John Fortescue Finnis (b. 1870), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Major John Hill (b. 1866), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Major Maxwell Hume Henderson (b. 1869), Indian Army.[Gelatin silver print, oval image, 87x126mm]. Head-and shoulders portrait, in uniform, of Major Skipton Hill Climo (1868-1937), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Major William Dickens Daunt (b. 1867), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform, of Major William John Ottley (b. 1870), Indian Army.[Gelatin silver print, oval image, 88x126mm]. Head-and shoulders portrait, in uniform.[Gelatin silver print, oval image, 88x126mm]. Head and shoulders portrait, in uniform. Circular image. probably photographed at Lucknow. (Sir) George Campbell was later Lieutenant-Governor of Bengal 1871-4. Head and shoulders portrait, in uniform. Photograph on frosted glass pane, top right-hand corner broken off and image in poor condition. 9th Royal Deccan Horse. Military Secretary to Lord Reading, 1923-6. Head and shoulders portrait, in uniform. Some damage to print surface. Sam Browne's Cavalry (12th Frontier Force). Military Secretary to Earl of Willingdon, 1931-3. Head and shoulders portrait, in uniform. Head and shoulders portrait, mounted on card with embossed photographer's stamp. With inscription in Chinese down side of mount and signed on print 'Chung Yuk Tong 25.5.1907.' Head and shoulders portrait, oval image. Head-and-shoulders portrait, possibly an untrimmed passport photograph. Two copies.[Gelatin silver print, 58x81mm]. Head and shoulders portrait, probably of a member of the Sifton family. Head-and-shoulders portrait, probably taken in Calcutta.[9x5x145mm]. Head-and-shoulders portrait, quarter profile looking to left.[Brown toned carbon print, on photographer's mount, 140x201mm]. Head and shoulders portrait, signed. Head and shoulders portrait, signed 'George C. Lister, 1896'. Head and shoulders portrait, signed 'Rawlinson, 31 May 1923'.. Head and shoulders portrait, signed and dated 23 October 1947. Head and shoulders portrait, signed by sitter. Head-and-shoulders portrait, standing in front of wall of house.[Gelatin silver print, 142x92mm]. Head and shoulders portrait, taken in London. Head and shoulders portrait, taken in Tynemouth. Head-and-shoulders portrait, taken on the same occasion as print 382.[Gelatin silver print, 142x91mm]. Head-and-shoulders portrait, taken on the same occasion as print 48, but in a slightly different pose.[97x144mm]. Head and shoulders portrait, with signature. Second copy neg at B.1931. Head and shoulders portrait, with signature. Head and shoulders portrait, with signature (undeciphered). Head and shoulders portrait; photographic copy of a drawing. Head-and-shoulders portrait: 'Changra, the lay Commander-in-Chief, and Chapay, his Assistant, Mingi Lingpa, and Lhalu came to dinner.' (Lhasa Mission Diary, 9 January 1937).[Gelatin silver print, 103x156mm]. Head-and-shoulders portrait: 'From 10-30 a.m. to 1-30 p.m. the Mission called in turn on Bhondong Shap�, Tendong Shap�, and Lungchungma Shap�. All were very affable and pleasant, sat with us on European chairs round a table and discussed matters freely. Bhondong and Tendong are experienced men of the world, pro-British and up to date in their ideas...Gould had some useful talks with Bhondong and Tendong in which among other things they expressed a desire to obtain wireless sets of their own, for use in Lhasa, or in the field so as to be independent of the Chinese. The Political Officer has quickly got on the best of terms with these two influential Shap�s, who undoubtedly appreciate a British representative of his experience.' (Lhasa Mission Diary, 29 August 1936).[Gelatin silver print, 92x141mm]. Head-and-shoulders portrait: 'Ringang Kusho, a brother of the Ringang who went to Rugby in 1913, appeared pretty quick in the intellect, and as he had been a Depon 3 years ago in Eastern Tibet (called by the Chinese 'Sikang Province'), it was possible to get some inside information of the period when there was fighting between Chinese and Tibetans in that region...Ringang became Depon, without previous training or experience, as a result of a clean sweep of four depons who were 'stellenbosched' when the Tibetans were driven out of that part of Eastern Tibet beyond (East of) the Yantze...Ringang is really an agricultural expert, and is now in that department.' (Lhasa Mission Diary, 26 August 1936).[Gelatin silver print, 142x92mm]. Head-and-shoulders portrait: 'We had a number of interesting visitors today...[among them] Kusho Chapay. Fourth rank official and Assistant to the Commander-in-Chief..The Assistant to the Commander-in-Chief was very obliging in giving military information, and hinted that officials had been instructed by the Kashag to talk to us freely and with reservation...' (Lhasa Mission Diary, 29 August 1936).[Gelatin silver print, 141x92mm]. Head and shoulders portrait: duplicate of print 105. Head and shoulders portrait: photographic copy of a drawing. Head-and-shoulders portrait. '...A Duke of Tibet, with estates at Gyantse' (Lhasa Mission Diary, 28 August 1936).[Gelatin silver print, 141x92mm]. Head-and-shoulders portrait. 'Chapman went out in the early morning to photograph a party of Nomads who have recently arrived at Lhasa. These swarthy uncouth-looking men, dressed in a single sheep-skin garment, are much larger and more healthy looking than are the inhabitants of Lhasa. They have a reputation similar to that of the Pathan: if they make friends they will do anything for you, but if roused they are quick to use their knives.' (Lhasa Mission Diary, 7 January 1937). See also print 340[Gelatin silver print, 104x156mm]. Head-and-shoulders portrait. 'Neame and Chapman were allowed to take photos and cine of the Regent...' (Lhasa Mission Diary, 28 August 1936).[Gelatin silver print, 141x91mm]. Head-and-shoulders portrait. 'The women, who are remarkably handsome, wear their hair in innumerable minute plaits which are attached at shoulder level to a multi-coloured piece of canvas which hangs down almost to the ground. This cloth [is] ornamented with silver buttons, Chinese dollars and other trinkets.' (Lhasa Mission Diary, 7 January 1937). Head-and-shoulders portrait. 'Tsoko, the new depon [general] in Kham, came to present a scarf. As it was his first visit he also brought presents.' (Lhasa Mission Diary, 30 November 1936).[Gelatin silver print, 77x112mm]. Head-and-shoulders portrait.[108x136mm]. Head-and-shoulders portrait.[96x144mm]. Head-and-shoulders portrait.[99x149mm]. Head-and-shoulders portrait.[Gelatin silver print, 107x149mm]. Head-and-shoulders portrait.[Gelatin silver print, 141x92mm]. Head-and-shoulders portrait.[Gelatin silver print, 142x92mm]. Head-and-shoulders portrait.[Gelatin silver print, 38x65mm]. Head-and-shoulders portrait.[Gelatin silver print, 77x112mm]. Head-and-shoulders portrait.[Gelatin silver print, 92x142mm]. Head-and-shoulders portrait.[Gelatin silver print, 96x128mm]. Head-and-shoulders portrait.[Gelatin silver print (modern print), 90x141mm]. Head and shoulders portrait. Although the date is unclear it is probably from around the 1880s when the Nawab was in his seventies. Head and shoulders portrait. A very faded print. Head and shoulders portrait. Could be one of three Swinton's active in India: Anson (Bengal Artillery, 1857), Arthur (BA, 1859) or George (Bengal Engineers, 1855). Head and shoulders portrait. Duplicate at Photo 10/18 (2). Head and shoulders portrait. Duplicate at Photo 10/18 (3). Head and shoulders portrait. Duplicate at Photo 10/18 (6). Head and shoulders portrait. Duplicate at Photo 430/38 (1). Head and shoulders portrait. Duplicate at Photo 430/38 (2). Head and shoulders portrait. Duplicate at Photo 430/38 (4). Head and shoulders portrait. Duplicate at Photo 430/38 (5). Head and shoulders portrait. Duplicate at Photo 430/40 (1). Head and shoulders portrait. Duplicate of Photo 10/18 (5). Head and shoulders portrait. For other copies of this print, see Photo 449/1 (3), Photo 449/2 (28) and Mss Eur F197/37 (41). This last example, an enlarged carbon print, is the best copy of this portrait.[Albumen print]. Head and shoulders portrait. For other copies of this print, see Photo 98 (1), Photo 449/1 (3), and Mss Eur F197/37 (41). This last example, an enlarged carbon print, is the best copy of this portrait.[Albumen print]. Head and shoulders portrait. Hand-coloured print. Head and shoulders portrait. Inscribed 'Baird Smith' on verso. Head and shoulders portrait. Last word of caption unclear. Head and shoulders portrait. Not British Library copyright. Head and shoulders portrait. Oval print. Head and shoulders portrait. Oval print. Head and shoulders portrait. Photograph by F. Holmes of Clifton. Head and shoulders portrait. Photograph on frosted glass pane. Private Secretary to Lord Chelmsford, 1920-1, and to Early of Reading, 1921-2. Head and shoulders portrait. Photograph on opaque glass pane, image badly damaged. Private Secretary to the Earl of Northbrooke, 1872-6. Created Baron Cromer, 1892. Earl of Cromer, 1901. Head and shoulders portrait. Probably the Alexander Skinner listed as a landholder in Hissar in Thacker's Directory 1864. Head and shoulders portrait. See also Prints 126 and 129. Head and shoulders portrait. See also Prints 74 and 129. Head-and-shoulders portrait. See note at print 182.[Gelatin silver print, 95x142mm]. Head-and-shoulders portrait. See note at print 89. 'Lungchungma is a nice old man, very old fashioned, won't have electric light in his house, only drinks Tibetan tea, and was a prot�g� of the late Dalai Lama's.' (Lhasa Mission Diary, 29 August 1936).[Gelatin silver print, 141x92mm]. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head-and-shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head and shoulders portrait. Head-and-shoulders portrait (see note at print 337).[Gelatin silver print, 105x154mm]. Head and shoulders portrait (with hat). Head and shoulders portrait (without hat). Head and shoulders portrait in an oval. This is a detail of print No 138 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Head and shoulders portrait in an oval frame. Head and shoulders portrait in a presentation folder. Head and shoulders portrait in a window mount. The portrait is published in an article about him, written by H.R. Culling Carr. Head-and-shoulders portrait in half-profile.[Albumen print, oval image]. Head and shoulders portrait of (Sir) Edward Clive Bayley. Head-and-shoulders portrait of A. Narasimiengar (b. 1844), Manager of the Household of the Maharaja of Mysore 1875, appointed Durbar Bakshi 1886.[Albumen print, 85x118mm]. Head and shoulders portrait of an Indian man. Head-and-shoulders portrait of an unidentified man, presumably one of the monks on their way from Drepung to Lhasa, encountered by the party escorting Colonel Neame on his departure from Lhasa (see note at print 153).[Gelatin silver print, 94x142mm]. Head-and-shoulders portrait of an unidentified Tibetan official, with original identification as Lungchungma Shap� crossed out.[Gelatin silver print, 141x92mm]. Head-and-shoulders portrait of Arepur Bassappaji Urs (b. 1850), appointed Military Bakshi to the Maharaja of Mysore 1881.[Albumen print, 83x120mm]. Head and shoulders portrait of Arthur Melville Hogg, brother of G.C. Hogg. Head and shoulders portrait of a Sikh. Oval print. Head-and-shoulders portrait of Brigadier Sir Hissan-ud-din (1881-1960), 3rd Punjab Cavalry, in uniform and wearing medals, signed 'Your very sincere old friend S. Hiss Ammuddin 1928.' Head and shoulders portrait of Charles Basil Gibbons Bacon. Head-and-shoulders portrait of Charles Edward Ridgway Girdlestone (b. 1839), Indian Civil Service, Officiating Resident, Mysore in 1886.[Albumen print, 83x123mm]. Head and shoulders portrait of Colonel Sir Charles Patton Keyes.[Albumen print, oval vignette, 100x110mm]. Head-and-shoulders portrait of David Henry Small (1824-1914), IMS (Bengal) 1846-66. A small print, mounted on card with one of his wife Isabella.[Gelatin silver print, 27x50mm]. Head and shoulders portrait of Dr Anthony Beale, surgeon to Earl Canning, probably photographed at Lucknow. Circular image. Head-and-shoulders portrait of Edward Charles Stuart Baker (1864-1944), Indian Police, later Port of London Authority Police.[Gelatin silver print (modern copy), oval image, 127x175mm]. Head and shoulders portrait of Edward Septimus Wood. Head and shoulders portrait of Edward Thomas Shiffner. Head and shoulders portrait of Ganga Singh. Head and shoulders portrait of George Strahan, Bengal Engineers. Head and shoulders portrait of Henry Venn Cobb. Head-and-shoulders portrait of Isabella Small. Mounted on card with portrait of David Henry Small.[Gelatin silver print, 27x49mm]. Head and shoulders portrait of John Forbes Meiklejohn, Bengal Artillery. Head and shoulders portrait of K.J.L. Mackenzie and R.P. Thompson. Mackenzie's face is partly obscured by chemical bleaching of the print. Head-and shoulders portrait of Kumarapuram Sheshadri Iyer (b. 1845), Diwan to the Maharaja of Mysore from 1883.[Albumen print, 84x119mm]. Head and shoulders portrait of Lancelot Kerby Edwards. Head-and-shoulders portrait of Lieutenant (later General) Robert Stanwix Robertson (d. 1913).[55x87mm]. Head-and-shoulders portrait of Major George Matthew Martin, a member of the Mysore Commission.[Albumen print, 86x118mm]. Head-and-shoulders portrait of Negapatam Ramarao Vijayendra Rao (b. 1843), Chief Secretary to the Diwan of Mysore from 1885.[Albumen print, 84x122mm]. Head and shoulders portrait of Nellie Dane as a young child. Print unsigned, but very similar to print 36 and probably taken at the same sitting. Head-and-shoulders portrait of Percy Hugh Benson (b. 1852), Indian Medical Service 1874-1911, Mysore Commission 1876, Civil Surgeon, Mysore, 1883.[Albumen print, 85x118mm]. Head-and-shoulders portrait of Prince Subramanya Raj Urs (b. 1859), elder brother of Maharaja Chamrajendra Wadiyar of Mysore.[Albumen print, 84x118mm]. Head-and-shoulders portrait of Robert Scarth Farquhar Macrae (1877-1926), Indian Police, later Port of London Authority Police.[Gelatin silver print (modern copy), 104x141mm]. Head-and-shoulders portrait of Sir Chamrajendra Wadiyar (1863-1894), Maharaja of Mysore 1868-94.[Albumen print, 84x119mm]. Head-and-shoulders portrait of Sow Chon, Myosa of Indein, a dependency of Yaunghwe. Sow Chon was the brother of Sow On, Sawbwa of Yaunghwe. Scott's diary for 10 November records that while at Taungdo he 'took the Indein Myosa also the [?]Kyeinmong in groups' (OIOC Mss Eur F278/4 f. 91).[Albumen print, 114x175mm]. Head-and-shoulders portrait of the Burmese Nationalist leader. Head-and-shoulders portrait of the Burmese politician Aung Zan Wai. Head-and-shoulders portrait of the couple, taken on the occasion of their Diamond Wedding in 1911 and mounted in a card. David Henry Small, son of James Small, surgeon, of Wemyss, Fife, married Isabella, youngest daughter of Ebenezer and Ann Whytt, in Bombay Cathedral on 1 January 1851.[Gelatin silver print, 80x80mm]. Head-and-shoulders portrait of the figure seen on the right in print 100.[Gelatin silver print, 140x92mm]. Head and shoulders portrait of the Hon Aleck Stewart, ADC to Earl Canning, probably photographed at Lucknow. Circular image. Head-and-shoulders portrait of the Lama Commander-in-Chief (also Clerical Grand Secretary), who visited the Mission on 29 August.[Gelatin silver print, 141x92mm]. Head and shoulders portrait of the man seen in print 15. Head-and-shoulders portrait of the Tsarong Shap� speaking into a microphone, at the lunch given by the British Mission to Tibetan officials (see note at print 201).[Gelatin silver print, 152x104mm]. Head-and-shoulders portrait of the two men. 'To-day we received a call from the King of Lhadu and his leading subject. The King is one of several small chieftains of Eastern Tibet who have been gradually subdued by the Tibetan Government. He rules a population of about 1,000 herdsmen. He has a large goitre but declined offers of treatment on the grounds that he must consult the lamas...The King who holds the title of Teji by the Tibetan Government, had come to visit the tomb of the late Dalai Lama. The reason for his call on the Political Officer was that he wanted to be on friendly terms with the representatives of other powers. His companion was a cheerful monk who has travelled a bit and visited Kalimpong and Darjeeling.' (Lhasa Mission Diary, 29 September 1936).[Gelatin silver print, 152x106mm]. Head and shoulders portrait of Thomas Smith Robin. Head-and shoulders portrait of two officers in European-style military uniform. One of the figures is possibly Yutok Depon.[Gelatin silver print, 141x92mm]. Head-and-shoulders portrait of two Tibetan officers, one of whom is presumably the Yutok Depon. Photograph taken on the departure of Colonel Neame for India (see note at print 153).[Gelatin silver print, 143x92mm]. Head-and-shoulders portrait of two Tibetans. The couple are not identified in the Lhasa Mission Diary, although the photograph is listed as having been taken on the day of the military review at Lhasa (see following prints).[Gelatin silver print, 141x92mm]. Head-and-shoulders portraits, mounted on card. Signed 'With love from Chaluvajammani'.[Gelatin silver print, 105x156mm]. Head and shoulders portraits. Not British Library copyright. Head and shoulders portraits. Rasul Khan and Shiekh Baha-ud-din. Head and shoulders portraits. Head and shoulders portraits. Head and shoulders portrait signed, 'Jey Singh, Ulwar, 2.12.96'. Head and shoulders portrait Head and shoulders portrait titled: 'L.H.K.S.'. Head-and-shoulders profile carte-de-visite, probably photographed in Calcutta. [Albumen print, 55x98mm]. Head-and shoulders profile carte-de-visite portrait.[Albumen print, 94x58mm]. Head and shoulders profile carte-de-visite portrait. Oval image. James Langford Pearse (d. 1891) succeeded Francis Cunningham as Secretary of the Mysore Commission: 'An openhearted and fine fellow, a good sportsman and pleasant companion, but by no means equal to his predecessor, who used to laugh at his large sprawling 'Roman hand'.[Albumen print, oval image, 41x55mm]. Head--and-shoulders profile carte-de-visite portrait of Florence A. Bailey, daughter of John Marshman Clarke, wife of Colonel Frederick Bailey and mother of Frederick Marshman Bailey. Probably photographed at Calcutta.[Albumen print, 60x95mm]. Head and shoulders profile carte-de-visite portrait of Friedrich Max-M�ller (1823-1900), orientalist and Curator of the Bodleian, Oxford, 1856-63. Head and shoulders profile carte-de-visite portrait of Major General Henry Herbert Lee (1838-1920), Bombay Engineers.[Albumen print, 57x89mm]. Head-and-shoulders profile carte-de-visite portrait of Mrs Emmeline Thuillier, wife of Sir Henry Ravenshaw Thuillier (see print 18). The couple were married in 1867. This portrait was probably taken in Calcutta.[Albumen print, 55x90mm]. Head-and-shoulders profile carte-de-visite portrait of Sir Frederick William Pollock (1827-1899).[Albumen print, 60x90mm]. Head and shoulders profile portrait, circular image. Head-and-shoulders profile portrait, in uniform.[Platinum print, 83x127mm]. Head-and-shoulders profile portrait, wearing Civil Service uniform and medals. Photograph taken at the New Year's Day luncheon party hosted by the British Mission at Lhasa.[Gelatin silver print, 103x156mm]. Head-and-shoulders profile portrait. Lhalu 'is a son of Lungshar who is languishing in a dungeon of the Potala with his eyes put out. In 1912 Lungsha visited England in charge of the Tibetan boys who were sent to Rugby. After his father's disgrace the son was adopted as heir by the old and very wealthy family of Lhalu who own the estate and house where the 1904 Mission lived when in Lhasa.' (Lhasa Mission Diary, 9 January 1937).[Gelatin silver print, 105x154mm]. Head and shoulders profile portrait. Head and shoulders profile portrait. Head and shoulders profile portrait. Head-and-shoulders profile snapshot of Sawlawi, Sawbwa of Gantarawadi, taken while the Shan chiefs were preparing for an official group portrait.[Printing-out paper, 103x76mm]. Head and shoulders seated carte de visite portrait, wearing a decorated boater. Head and shoulders seated portrait, with signature. Head and shoulders seated portrait. Head and shoulders seated studio portrait. Secretary to the Marquess of Duffering and Ava and to the Marquess of Lansdowne, 1884-9. Head and shoulders snapshot portrait. Very faded. Head and shoulders soft focus studio portrait, location unknown. Head-and-shoulders studio portrait, full face.[Gelatin silver print, 99x144mm]. Head and shoulders studio portrait, half-profile, on card mount with photographer's stamp and signed on mount 'Y.T. Chang'. The imitation medal on his chest is explained in a note written on the back of the mount: 'The decoration is a Spanish one. Chang had not brought this with him so Vincent Henderson of the Chinese Customs made this out of cardboard.' Photographed in Calcutta. Head and shoulders studio portrait, in civil service uniform. Private Secretary to the Earl of Willingdon, 1931-6; Principal Private Secretary to the Viceroy and Governor-General (Earl Mountbatten of Burma), Mar-Aug 1947. Head-and-shoulders studio portrait, in half-profile facing right.[Gelatin silver print, 141x195mm]. Head-and-shoulders studio portrait, in profile. Fold down centre of print.[102x145mm]. Head and shoulders studio portrait, in uniform. 2nd King Edward VII's Own Gurkha Rifles. Military Secretary to the Marquess of Linlithgow, 1938-9 and 1942-3. Head and shoulders studio portrait, in uniform. Late King George V's Own Lancers. Military Secretary to Earl Wavell, 1944-7, and to Earl Mountbatten, 1947-8. Head and shoulders studio portrait, in uniform. Photograph on opaque glass pane. Rifle Brigade (The Prince Consort's Own). Military Secretary to Lord Chelmsford, 1916-21. Head and shoulders studio portrait, in uniform. Scinde Horse. Military Secretary to the Marquess of Linlithgow, 1939-42. Head-and-shoulders studio portrait, on photographer's mount. See biographical note at print 2.[Carbon print, 101x147mm]. Head and shoulders studio portrait, taken at Simla. Head-and-shoulders studio portrait.[Gelatin silver print, 187x237mm]. Head-and-shoulders studio portrait.[Gelatin silver print, oval image, 90x127mm]. Head and shoulders studio portrait. Assistant Private Secretary to Field Marshal Earl Wavell, 1946-7, and to Earl Mountbatten of Burma, Mar-Aug 1947. Head and shoulders studio portrait. Deputy Private Secretary toField Marshal Earl Wavell, 1945-7; and to Rear Admiral the Earl Mountbatten of Burma, 1947. Head and shoulders studio portrait. Duplicate at print 338. Head and shoulders studio portrait. Private Secretary to Lord Curzon, 1904-5; Chief Commissioner, Central Provinces, 1905-7. Head and shoulders studio portrait. Private Secretary to Lord Irwin, 1926-31, and to Earl of Willingson, 1931. Governor of NWFP, 1937. Head and shoulders studio portrait. Secretary to the Governor-General (personal) and Private Secretary to Field Marshal Viscount Wavell, 1945-7, and to Lord Mountbatten, 1947. Head and shoulders studio portrait. Head and shoulders studio portrait. Head and shoulders studio portrait. Head and shoulders studio portrait. Head and shoulders studio portrait. Head and shoulders studio portrait. Head and shoulders studio portrait. Untranslated Persian script beneath print presumably identifies the photographer. Muzaffir-ud-din reigned as Shah of Persia 1896-1906. Head and shoulders studio portrait. Wife of Col J.H.E. Reid. Head and shoulders studio portrait in card mount Head-and-shoulders studio portrait of Pandit Dr Mullan Jagatnarayan (1864-1938), Minister for Local Self Government and Public Health, United Provinces 1919-23. Enclosed in a letter from Jagatnarayan to Butler dated 3 December 1933.[Gelatin silver print, mounted on card, 132x230mm].. Head-and-shoulders studio portrait of Russell Pakenham Colvin.[Platinum print, 106x148mm]. Head-and-shoulders studio portrait of William George Lawrence Beynon (1866-1955).[Carbon print, 101x142mm]. Head and shoulders three-quarter profile studio portrait, in uniform. Head and shoulders three-quarters profile studio portrait. Head and shoulder studio portrait. Modern copy. Duplicate of print 2. Head and shoulder studio portrait. Modern copy. Head and shoulder studio portrait of Clive Wigram, ADC to the Viceroy Lord Curzon, in military uniform. Print signed on mount 'C. Wigram /99'. Head and shoulders vignette, cabinet portrait, taken in Paris by Le Jeune. Head and shoulders vignette. Duplicate of Print 74. Head and shoulders vignette. Father of Lieut Colonel Donald John Campbell Macnabb and father-in-law of Colonel J.H.E. Reid. Head and shoulders vignette. Inscription on verso reads: 'Hannah Holmes (ne� Goodman), wife of James Holmes, mother of W.D. Holmes and grandmother of Randolph. She came to Peshawar in 1890 after James died, and lived with WDH and family. She died in Peshawar in 1896 and was buried in Taikal Cemetery, Peshawar, near her son William and daughter-in-law, Emily Lily'. Head and shoulders vignette. Head and shoulders vignetted cabinet portrait, full face. Head-and shoulders vignetted cabinet portrait, in military uniform. Whitehead served in the 93rd Burma Infantry from 1890-1917.[Albumen print, 100x140mm]. Head and shoulders vignetted cabinet portrait. Head and shoulders vignetted cabinet portrait of a bearded man. Head and shoulders vignetted cabinet portrait of an elderly bearded man. Print signed in pencil, apparently 'Walter Macfayrer'. Head and shoulders vignetted carte-de-visite portrait, full face of Major T. Clerk (d. 1898). '...Son of a former Secretary to the Madras government, he was a huge man with considerable talent, but of a fierce and impetuous temper, which often led him into scrapes...General Cubbon was often apprehensive that he would take the bit in his mouth and rebel against orders, and in truth it needed much tact to keep him straight...'[Albumen print, oval vignetted image, 35x45mm]. Head and shoulders vignetted carte-de-visite portrait, hand-coloured. Head and shoulders vignetted carte de visite portrait, in sporting clothes. Head and shoulders vignetted carte de visite portrait, in sports clothes. Head and shoulders vignetted carte-de-visite portrait, with light hand-colouring. Head and shoulders vignetted carte-de-visite portrait. '...a very energetic young officer, but required to be kept in hand, as he was disposed to act in an arbitrary manner towards the natives. He was enthusiastic sportsman, rivalling his better known brother in his Nimrod propensities. He would sit out all night in a hole watching for tigers, sometimes, it is said, making his unfortunate wife his companion, and was never so happy as when pursuing the felinae [?felidae], bisons, and elephants which are found in the Shimoga district. he was greatly addicted to playing practical jokes.' Head-and-shoulders vignetted carte-de-visite portrait.[Albumen print, 60x90mm]. Head and shoulders vignetted carte-de-visite portrait. Cousin by marriage of George Crawford Hogg. Head and shoulders vignetted carte de visite portrait. Curzon was sent to the private school at Wixenford in Hampshire run by Rev. Cowley Powles in 1869. Head and shoulders vignetted carte-de-visite portrait. Duplicates at prints 114 and 166. Head and shoulders vignetted carte-de-visite portrait. Duplicates at prints 44 and 114. Head and shoulders vignetted carte-de-visite portrait. Duplicates at prints 44 and 166. Head and shoulders vignetted carte de visite portrait. Inscribed on reverse: 'G.N. Curzon from H.G. Wells Novr. 1871'. Head and shoulders vignetted carte de visite portrait. Inscribed on reverse: 'To George N. Curzon, from William Percy Standish. May 29th 1872'. Head and shoulders vignetted carte de visite portrait. Inscribed on reverse: 'To George N. Curzon from Charles Austin. May 16th 1872'. Head and shoulders vignetted carte de visite portrait. Inscribed on reverse: 'To George N. Curzon from Frank Gaskell. May 29th 1872'. Head and shoulders vignetted carte-de-visite portrait. Head and shoulders vignetted carte-de-visite portrait. No biographical details. Head and shoulders vignetted carte-de-visite portrait. No biographical details or location supplied, but presumably photographed in India (see print 134). Head and shoulders vignetted carte-de-visite portrait. Photographic copy of a painting. Presumably the father of Willy Gillilan (print 77). Head and shoulders vignetted carte-de-visite portrait. Possibly Captain A.C. Lily. Head and shoulders vignetted carte-de-visite portrait. Possibly the sister of Blanche, wife of Theodore William Hogg. Head and shoulders vignetted carte-de-visite portrait. Probably a relation of George Crawford Hogg. Head and shoulders vignetted carte-de-visite portrait. Probably photographed in Bombay. Head and shoulders vignetted carte-de-visite portrait. Probably photographed in Poona. Head-and-shoulders vignetted carte-de-visite portrait. Head and shoulders vignetted carte de visite portrait. Head and shoulders vignetted carte-de-visite portrait. Head and shoulders vignetted carte-de-visite portrait. Head and shoulders vignetted carte-de-visite portrait. This probably shows Edward Parry Gambier, Royal (Bombay) Engineers. Head and shoulders vignettedcarte-de-visite portrait of a young man. Head and shoulders vignetted carte-de-visite portrait of a young woman, possibly the sister of Blanche, wife of Theodore Wiliam Hogg.. Head and shoulders vignetted carte-de-visite portrait of a young woman, similar to print 141. Head-and-shoulders vignetted carte-de-visite portrait of Captain Frederick Firebrace, Royal Engineers 1861-94.[Albumen print, 55x90mm]. Head and shoulders vignetted carte-de-visite portrait of Dr James Kirkpatrick (1820-1890), Madras Medical Service 1842-72, 'the sagacious and experienced chief of the Mysore Medical Department.' Head and shoulders vignetted carte-de-visite portrait of H. Hudson, Accountant-General: '...When first nominated, it was supposed that, being a Eurasian, he would not find favour in Mysore, but he discharged his difficult duties so well, and with so little cause of offence, that he was enabled to revise the whole system of accounts, and to place the departments of audit and expenditure on a thoroughly satisfactory basis; retaining at the same time a good deal of personal popularity.' Head-and-shoulders vignetted carte-de-visite portrait of Henry Newdick Miller, Punjab Police.[Albumen print, 60x90mm]. Head-and-shoulders vignetted carte-de-visite portrait of Lewin Bentham Bowring's father-in-law Edward Bellasis (1800-1873).[Albumen print, 58x93mm]. Head-and-shoulders vignetted carte-de-visite portrait of Major Gray Townshend Skipwith, Royal (Bengal) Engineers 1858-93.[Albumen print, 55x90mm]. Head-and shoulders vignetted carte-de-visite portrait of Miss Cox, presumably the daughter of General Cox at 47a.[Albumen print, 60x90mm]. Head-and-shoulders vignetted carte-de-visite portrait of Mrs Marindin, wife of Philip Samuel Marindin, Madras Engineers (see print 19).[Albumen print, 55x90mm]. Head-and-shoulders vignetted carte-de-visite portrait of Philip Samuel Marindin (d. 1876), Royal (Madras) Engineers 1858.[Albumen print, 55x90mm]. Head and shoulders vignetted carte-de-visite portrait of Richard Hieram Sankey, Royal Engineers 1846-84: '...a brave soldier, an excellent artist, and a skilful engineer, his talent being remarkable and his energy great, but his ardent and impulsive nature sometimes outran his discretion...He was appointed Chief Engineer, and performed the duties entirely to my satisfaction. He visited personally nearly the whole of the province, and was very successful in improving the state of his department.' Head and shoulders vignetted carte-de-visite portrait of Robert Andrews Cole (1835-1907). '...an enthusiastic and painstaking officer, whose genial temperament made him a favourite, and when he was superintendent of Coorg, gave him much influence over the gallant mountaineers of that country. He wrote a grammar of the Kodagoo, or Coorg language [An elementary grammar of the Coorg language, Bangalore, 1867], and was the first to bring to to notice the existence in that province of numerous cairns, and other ancient remains, of which he wrote an interesting account.' Head and shoulders vignetted carte-de-visite portrait of the Missionary and naturalist Rev. Stephen Hislop (1817-63). Presented to the India Office Library by Colonel Alister Jamieson, Indian Army (retd.) Head and shoulders vignetted carte-de-visite portrait of the wife of Colonel W. Hicks. Head and shoulders vignetted carte-de-visite portrait of the wife of Henry Smith Daniell, Bombay Army. Head and shoulders vignetted carte-de-visite portrait of the wife of James Philips (see prints 45 and 155). Head and shoulders vignetted carte-de-visite portrait of William Coussmaker Anderson (1822-1893), Bombay Army, 'the extremely able head of the Survey Settlement Department, an officer of the highest reputation.' Head and shoulders vignetted carte-de-visite portrait of William George Lewis Rice: 'The other officers of the Commission were scarcely above par, or deserving of notice, except for Mr L. Rice of the Education Department, who rose to be its head, and successfully promoted popular education. Mr Rice afterwards rendered signal service in deciphering the ancient inscriptions scattered over the country, of which he published an interesting account.' Head-and-shoulders vignetted carte-de-visite portrait of William James Heaviside, Royal (Bengal) Engineers 1859-88.[Albumen print, 55x90mm]. Head and shoulders vignetteded carte de visite portrait, in sporting clothes. Head-and-shoulders vignetted portrait. Photograph tentatively attributed to John Burke in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), p. 27.[Albumen print, 85x110mm]. Head and shoulders vignetted portrait. Head and shoulders vignetted portrait. Head and shoulders vignetted portrait. Head and shoulders vignetted portrait. Two images on postcard print. Head-and-shoulders vignetted portrait of Henry Pelham Close, the compiler of this album.[Albumen print, 85x90mm]. Head and shoulders vignetted studio portrait, carte-de-visite size. Duplicates at Photo 430/74 (17) and prints 116-8. Head and shoulders vignetted studio portrait, in profile, carte-de-visite size. Duplicate at Photo 430/74 (30). Head and shoulders vignetted studio portrait, in uniform. Photograph on porcelain. Military Secretary to Viceroys, 1881-94. Head and shoulders vignette of Brigadier James Clarke Charnock Gray. Head and shoulders vignette of Captain Henry Peter Poleman Nash. Head and shoulders vignette of Donald Campbell Vanrennen of the North-West Revenue Survey. Head and shoulders vignette of Dr Henry Bruges Buckle (1815-1874), Indian Medical Service (Bengal) 1840-74.[Albumen print, 100x110mm]. Head and shoulders vignette of John Hennessy of the late 70th Bengal Native Infantry. Head and shoulders vignette of Lieut Col D.J.C. Macnabb as a boy. Head and shoulders vignette of Randhir Singh, ruled 1852-70. Head and shoulders vignette of Surgeon Theodore Orton. Head and shoulders vignette of the Madras Presidency surgeon and ornithologist, Thomas Caverhill Jerdon. Head and shoulders vignette of the Reverend Thomas William Shaw, Assistant Chaplain at Cawnpore in 1860. Head and shoulders vignette portrait, in uniform, with signature. Head and shoulders vignette portrait, signed on print. Head and shoulders vignette portrait, with signature. Portrait taken in late 1880s when Crosthwaite was Chief Commissioner, Burma (Klier was a Rangoon-based photographer). Head and shoulders vignette portrait, with signature. Head and shoulders vignette portrait, with signature (undeciphered). Head and shoulders vignette portrait. Further copy negs at B.5981, B.1844. Head and shoulders vignette portrait. Second copy neg at B.5628. Head and shoulders vignette portrait. Head and shoulders vignette portrait of Adrian Denys Vanrennen of the 71st Bengal Native Infantry and North-West Revenue Survey. Head and shoulders vignette portrait of an unidentified figure. Head and shoulders vignette portrait of Surgeon John James Clarke. Head and shoulders vignette portrait showing the Amir wearing the same coat seen in the Ambala Durbar photograph by Taylor (see Print 11 and others in Photo 50/1) and was presumably therefore taken by him on that occasion. Head and shoulder vignetted cabinet portrait. Head and shoulder vignetted cabinet portrait of an army officer, inscribed on the reverse, 'Edith Helen Barnes from Henry Howard Bedingfield. 5th March 1885'. Head only cropped from a larger print. Hear and shoulders vignetted carte-de-visite portrait of James Puckle (d. 1885) . '...a genius, with numerous devices in his busy brain, and a passion for improvements of every description, so that, when skilfully guided, he proved a most useful assistant, and was the originator of all the municipal institutions in Bangalore. His quick wit and great energy were invaluable in increasing among natives an interest in such matters. He was a good botanist and had a fair knowledge of geology among his other acquirements.' Henry Hinchcliffe and a woman (his mother?) posed beside the window of an English house.[Printing-out paper, 100x73mm]. Henry Morshead, Irma Bailey and others at base of trig. station. Small snapshot. Henry Morshead bent over theodolite, watched by villagers. Her Highness the Maharani Jamnabai (the widowed consort of Khande Rao who adopted Sayaji Rao) sits on a chair with the Gaekwar behind and to her left and Tarabai (Gaekwar's sister?) standing at her right side. Hinchcliffe standing beside a pegged-out tiger skin.[81x102mm]. His mother Hon'ble Cicely Portal (n�e Goschen) stands behind. Hobson-Jobson defines Grassias as land-owning cadets of ruling families. The glossary of Indian terms, for the use of the various departments of the Government of the East-India Company, gives a more derogatory definition, as that of land-holders who seized their property during times of anarchy in Gujarat: 'The claims are altogether founded in usurpation and violence, but custom has given them permanence and authority.' Hockey team posed with cups and trophies. Sitters identified as follows: (front row, seated, l. to r.): Sgt Smith; Inspector Haq Miraz Khan; Superintendent J.A. Scroggie; unknown; Sgt Southern; (back row, standing): unknown; unknown; Assistant Superintendent Hallows; Sgt (or Inspector) Haywood (or Hayward); Mubarik Ali; unknown. Holding pots and with basket on head. Horse and British soldier. Horse and one of the figures seen in print 43.[Silver printing-out paper, 120x96mm]. Horseman posed beside his mount on a mountain road. Hospital staff posed on the verandah of the temporary cholera hospital also seen in print 144.[Gelatin silver print, 198 X 152 mm]. House servants gathered in front of the bungalow, with identifications on reverse of print.[Gelatin silver print, 140x89mm]. Hugh and Edith Barnes with the unidentified woman also seen in print 76, posed informally on the verandah of the Residency. Hugh Barnes on horseback in front of the verandah of the Quetta Residency. Hugh Shakespear and Edith Helen Barnes with two unidentified women, standing at the entrance to the Residency. Two uniformed servants stand at the bottom of the steps. The print gives a good view of the elaborately carved wooden porch. Hunt group on horseback, with hounds. Taken at the same location as print 6. Hunting cheetah with keepers and the bullock cart on which the animal is transported to within striking distance of prey.[Albumen print, 135x96mm]. Hunting group posed on verandah of shooting lodge, with dead markhor lying in foreground. The figure at the left may be Reilly.Caption details taken from print 60. Stereoscopic view. Hunting group posed with a bag of eight tigers. With the following identifications written beneath the print: Rex Benson, John M., Col. Haksar, F.M. Stiffken, Scindia [Madhava Rao Scindia, Maharaja of Gwalior], H.E. [Lord Hardinge], W. Jardine, H. Waterfield, F. Honret, F.H. [Halliday], Micky, R., Du B. [Du Boulay], Smiler, M.[Gelatin silver print (?copy print), 277x142mm]. Hunting group posed with dead bears. Hunting group posed with dead pigs laid out in front of them. Sir Pratap Singh, Maharaja of Kashmir and Lord Roberts stand in the centre of the group. Other identified figures are Neville Chamberlain, Ram Singh, F. Roberts, Amar Singh and Spencer Wilkinson. Hunting group posed with the bag of birds and hares. Bailey and Kennedy sitting in front of main group of bearers and servants. Hunting group posed with two dead ibex. The figure identified as Mustongi is the deputy governor also seen in print 51 (where his name is spelled Mostongi). Hunting group with dead tigers including: 'C.E.S. [Stotherd], Arnott, Pratt, Cooke'. Some of the shikaris are named above the print. Hunting group with three dead tigers lying before a party of Europeans and shikaris. See also Photo 448/2 (159) where they are named from the left as: C.E. Stotherd, Arnott, Pratt and Cooke. Identifications given as follows: (sitting): Hon Sir Malcolm Hailey (Governor of the Punjab); HE General Lord Rawlinson; the Viceroy Lord Reading; Hon Sir Mohammed Shafi; Hon Sir Narasimha Sarma; (standing): Hon Sir Charles Innes; Hon Sir Basil Blackett; Hon Mr A.C. Chatterjee. Identified as 'Glancy, Self [Ernest Howell and] Evelyn'. 'Glancy' is presumably Sir Reginald Isidore Robert Glancy (1874-1939), ICS, who served on the North-West Frontier from 1899-1909. Included in the group are: D.S. Senanayake (Ceylon), Jawaharlal Nehru (India), Peter Fraser (New Zealand), Louis Laureal[?] (Canada?), Clement Attlee (UK), H.V. Evatt (Australia), E.H. Louw (South Africa), Liaquat Ali Khan (Pakistan), Sir Godfrey Huggins (Southern Rhodesia), N.A. Robertson (Canada), Ernest Bevin, A.V. Alexander, Sir Norman Brook and Stafford Cripps. Includes Lord Linlithgow, his wife and Viceregal staff; Maharaja Jogendra Sen, his family and state officials; and the Resident, Wilberforce-Bell and staff. Indian and European miners posed beneath massive wooden pit props. Indian group in camp. Indian polo team. Named from left: 'Bahadur Singh, Narain, Partab, Mahtab, Bhoorji, Rupji'. In Photo 448/2, the three men on the right are identified as Thakur Mehtab of Sewar, Thakur Bhorji of Chowkri and Thakur Rupsingh of Naila. Indian polo team. See Print 190 for names. Indian servant with tame fox. Indian soldier standing beside saddled and seated camel.[Albumen print, 116x92mm]. Indistinct and faded snapshot of hunting group posed in front of tent. Individuals are identified in the key attached to Print 5: '1. Jemadar Mohan Sing; 2. Lt Caulfield; 3. Jemadar Ghaus Sharif; 4. Late Subadar Dooravasaloo; 5. Jemadar Appalsawary; 6. Jemadar Shaik Abdul Hafiz; 7. Subadar Goolsadoss; 8. Late Subadar-Major Anantharam; 9. Surgeon Newland; 10. Jemadar Moonasawary; 11. Subadar Mankam Sing; 12. Col Leggatt; 13. Subadar Abdul Aziz; 14. Subadar-Major Gooriah; 15. Lt Johnson'. Individuals are named as follows: '[Standing] Capt Adam, Capt Morley, Capt Pollen, Col Durand. [Sitting] Mr Cuningham, Mrs Barr, Lord Bruce, H.E. [Lord Elgin], Her Ex [Lady Elgin], R. Bruce, Col Barr, Lady E. Bruce, Miss Barr'. Individuals are named as follows: '[Standing] Capt Adam, Miss Parkes, Mr Cuningham, Mr Cole, Mrs Parker Smith, Col Tate, Col Durand, Dr Franklin, Mr Parker Smith, Col Abbott, Col Melliss, Capt Peyton, Capt Cookson, Mr Latimer, Capt Morley. [Sitting] Maharaja Kishore Singh, Lady E. Bruce, Mr Crosthwaite, R. Bruce, Lady Elgin, H.E. [Lord Elgin], Sir Pertab [Pratap] Singh, Lord Bruce, Mrs Abbot, Mr Babington Smith, Mrs Tate, Capt Pollen.' Individuals identified in an accompanying key: '1. Collet, Workshops carpenter; 2. Mons Perret, French instructor; 3. Templeton; 4. ---; 5. Rev G. Burroughs, Chaplain; 6. Harboard, Testing materials for India; 7. Prof Percy Groom, Forestry; 8. Dr Brockett, MO; 9. Prof Matthews, Chemistry (TBT's tutor); 10. Dr Schlich, senior-most Forestry professor; 11. Prof R.W. Woods, graphic statics, strength of materials; 12. Prof A.F.T. Atkinson, Electro technology; 13. Col Sir John W. Ottley, RE, President; 14. Prof A.W. Hay, Electricity & Magnetism; 15. MacElwee, Freehand drawing; 16. Prof A. Minchin, Higher mathematics; 17. N.F. McKenzie, Surveying; 18. Prof W.J. Fisher, Forestry; 19. Capt F.M. Browm, RE, Surveying; 20. Prof Brightmore, Hydraulics; 21. A. Hicks, Estimating, etc; 22. Tickell, Bursar; 23. Boyes, asst ditto [Bursar]; 24. Hopps, Workshops; 25. Prof Alfred Lodge, Pure mathematics; 26. Prof Seely, Geology; 27. ---'. Individuals named as follows: 'A.P. Manning, S. Smidt, Capt F.M. Brown, L.E. Becher, D.L.H. Mercer, S.G. Stubbs, Rev Burroughs, F.A. Heymann, L.S. Teague, H.L. Nicholson, Kirkpatrick'. Individuals named as follows: 'Carling, G. Parker (coach), Marsh, G. Clark, Piddy, R.T.P. Butler, J.C. Highet, A. Hicks, W.E.A. James'. Individuals named as follows: 'Governor's Private Secretary, Mr Sim; Political Agent, Mr Shipley; HE Governor of Madras, Sir A. Havelock; R of P's Private Secretary, Mr Crossley [and] Rajah of Puducottah'. Informal European group. Informal full-length portrait, standing in garden. Frederick Williamson (1891-1935), ICS 1913, Political Officer, Sikkim from 1931 and Margaret Dobie Williamson. Informal full-length portrait of Case standing in front of a railway carriage. Negative marked up for cropping. Original and duplicate negatives only, no print. Informal group, photographed at the Dekyilingka. Informal group, with camels in background. Sir Clarmont and Lady Doris Skrine at left (examining small object), Stein in centre, Colonel Arthur Alec Goschen (Instructor at the Staff College, Quetta) at right. Precise location unidentified, but probably in the Pishin area. Informal group, with the Nizam at the centre.[Gelatin silver print, 132x82mm]. Informal group (mainly nurses) seated on deck. Informal group drinking tea in Mr Ma's house. From left to right: Ma shi chou; Chung; Sunling Chao pin yuang; Bailey; Wu. Informal group in tennis whites, Corfield at left,H.B. Ijaz Ali at right. Informal group of Dr Kung Ch'ing-tsung, the senior Chinese official at Lhasa, with Tibetans and Europeans. Ludlow is seated on the left in the front row. Informal group of Indian veterans. This photograph was possibly taken on 3 January, when the Mutiny veterans were paraded at the Viceroy's Camp and presented an address of thanks to Lord Curzon. Informal group of men and mules. (Ancient Persis Map B1). Informal group of six men and women, including Clarmont and Doris Skrine. The Assistant Political Agent, Mekran, at this period was Captain Sahibzada Muhammad Khurshid.[Gelatin silver print, 203x150mm]. Informal group of Skrine with two shikaris and others.[Gelatin silver print, 162x211mm]. Informal group of the wife and daughters of Victor Lytton, Earl of Lytton, in the garden of Government House Darjiling. Lady Pamela Lytton is seated in a wicker chair, with her two daughters Margaret Hermione Milllicent (b. 1905) and Davidema [Davina] Katharine Cynthia Mary Millicent (b. 1909) standing behind, with another unidentified woman.[Gelatin silver print, 143x197mm]. Informal group of three Europeans, one on horseback. Informal group of Tolstoy and Tibetan ladies. Informal group on the balcony of Viceregal Lodge. The figures are identified as: Donald Ross, Charles Duke, Allan Noble, Joan Hope, Gilbert Laithwaite, Peter Borwick.[Gelatin silver print, 85x63mm]. Informal group photograph. The accompanying key supplies the following identifications: (back row, standing, l. to r.): Walker (Army Medical Service); unknown; (?)Finnis (later Military Secretary, Army Headquarters), seated below are Douglas Pott (Military Secretary to Governor of the Punjab) and Drake (ICS); Wright (Legislative Department); Capt A.G.S. Alexander (ADC to Viceroy); unknown lady, possibly Mrs Vigors; Bung McLeod; (middle row, seated): unknown lady obscured by dog; unknown man; unknown lady obscured by dog with hat; George Cunningham (Private Secretary to Viceroy); A. Brebner (PWD); Walter Leslie (Adjutant General); (front row): Mrs Cunningham; Miss Emily Wood (Viceroy's neice); Richard Wood (child); Lady Worsley; Lord Irwin (Viceroy); Arthur Lee; Lady Irwin; Henry Meikle. Informal group photograph. The following identifications are supplied: Admiral Godfrey; H.E. the C. in C.; Mr Trever (ICS); Brigadier Muirhead; Mrs Aldridge; Air Chief Marshall Sir Richard Peirse; Alan Hartley (Deputy C. in C.); Trevor-Jones; Colonel Brayne. Informal group portrait, location unknown.[119x90mm]. Informal group portrait. Captain Ilya Tolstoy was a member of the Amercian delegation sent to Lhasa in 1942. Ludlow can be seen at the extreme left of the photograph. Informal group portrait. Informal group portrait of a European regiment in a forest clearing. Annotations on the reverse suggest this may be the Simla Volunteer Rifles, including E.S. Carter who is presumably a descendent of the donor. Informal group portrait of boundary commission members, identified as: Hobson, Colquhoun, Rodgers, Burge, Wallce.[Gelatin silver print, 140x82mm]. Informal group portrait of boundary commission members, identified as follows: Hobson, Bacon, Rodgers, Burge, Wallace.[Gelatin silver print, 140x81mm]. informal group portrait of five children. Informal group portrait of Lewin Bentham Bowring and his wife Katharine, with children Francis Stephen (b. 1878), Clara Mary Aloysia (b. 1883), Wilfrid Joseph (b. 1879), and Charles Talbot (b. 1862). Charles Talbot Bowring was Lewin Bowring's son by his first wife Mary Laura.[Silver printing-out paper, 99x78mm]. Informal group portrait of servants, posed in garden, probably at Kohat. Informal group portrait of the Viceroy and officials standing beside a carriage (Lieutenant-Governor's camel carriage?) in the Punjab. The man standing on Curzon's left is the Lieutenant-Governor, Sir William Mackworth Young. Informal group portrait on the steamer, with the Curzons and party. Informal group seated round table in the Mission house.[Gelatin silver print, 153x104mm]. Informal group snapshot, showing Duke, Borwick and Stable with two unidentified Indian men. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x58mm]. Informal group with Herbert Thirkell White seated in centre, probably taken at Government Maymyo around the time of the wedding of Charles Parnell (standing at back) to White's daughter Dorothy (see print 9). Photograph uncredited, but probably by Samuels.[134x95mm]. Informally posed group, seated. Four of the figures are identified: Sheikh Suleman, Sheikh Ahmed, Colonel Hamilton, Duncan. Informally posed group.[Gelatin silver print, 140x81mm]. Informally posed group in front of verandah of mess. Informally posed group in garden, probably at Shimla, with Lord Curzon seated in the centre, Lady Curzon with her daughters Irene and Cynthia standing behind. Hugh Barnes is seated on the left, his wife Edith second from right. Informally posed group of men and women. Informally posed group of nine army offcicers on a wooded slope. Informally posed group on a mountain road. Figures identified as follows (left to right): Depon's wife (on pony), servant, Miss Annie Macdonald, servant, David Macdonald with kata (type of scarf) over his shoulders, Pishi Depon, servant. Informal portrait, probably of Frederick Williamson (1891-1935), Consul-General at Kashgar 1927-30 and Political Officer, Sikkim from 1931. Informal portrait, some of the sitters identified as follows: Mrs Jennings; R.A. Ellis; Dr Mary Gardner; Kitty Jennings. Informal portrait, the Raja seated in an armchair. Informal portrait. Informal portrait group, with the Sawbwa of Lawksawk seated on the left, with two unidentified Europeans. See note at print 2. Somewhat faded.[130x80mm]. Informal portrait group. Informal portrait in the grounds of Viceregal Lodge. Informal portrait of a European man and two women seated with a picnic hamper in front of a ruined wall. Informal portrait of a Tibetan lady. Informal portrait of C.P. Skrine seated beside a loch.[Gelatin silver print, 109x154mm]. Informal portrait of Colonel Grey and his clerk, probably photographed in the garden of the Consulate.[Gelatin silver print, 78x101mm]. Informal portrait of Coo-Coo, her husband and Kay. Informal portrait of Coo-Coo, seated on horseback with (?)Ilya Tolstoy standing beside her. Informal portrait of Dr Ronald Roderick Murray (1883-1973) seated on a verandah with a cat on his lap. Ronald Murray, son of the photographer Colin Murray and father of the donor of this collection, was a doctor and surgeon in Northern Rhodesia, where this photograph was presumably taken.[Modern copy print, 149x114mm]. Informal portrait of five young Tibetans. Informal portrait of Fox (presumably a member of the British or American Mission to Lhasa) and a Tibetan lady. Informal portrait of Henry Treise Morshead seated with his surveying equipment and instruments, a plane table and alidade on a tripod in the background. Informal portrait of Irma Bailey and another woman. Small snapshot. Informal portrait of Kamali, a Baluchi man known as 'Colonel Barker' standing with Doris Skrine in front of the bungalow.[Gelatin silver print, 145x210mm]. Informal portrait of Lord and Lady Linlithgow seated with Sir James Sifton, Governor of Bihar. Behind stand members of the Viceroy's staff: Gilbert Laithwaite (Private Secretray), Captain Noble (ADC) and Colonel Stable (Military Secretary).[262x214mm]. Informal portrait of Ludlow and Ilya Tolstoy on horseback. Informal portrait of officers. Informal portrait of P.J. Corbett seated with rifle beside a recently shot black buck. Informal portrait of Sir Norman Cater with an unidentified European couple on a mountain, probably Khalifat in the Brahui Range.[Gelatin silver print, 143x191mm]. Informal portrait of the four figures seated on the same steps seen in print 27. Colonel William Francis Prideaux was acting Resident, Kashmir in 1890. Robertson is presumably Sir George Scott Robertson (1852-1916), Indian Medical Service (Bengal) 1878-88, Indian Foreign Office employment from 1888.[Albumen print, 105x78mm]. Informal portrait of the four men seated on the ground with two puppies. Gyamtso was the headman of Mipi, the village of Tibetan settlers who had left Tibet in search of 'Pemako', a sort of 'Promised Land', in around 1900. Informal portrait of the Maharaj Rana Sri Harischandra (b. 1921), succeeded 1943, seated with his wife and Alsatian dog in front of the verandah of an unidentified building, probably the palace.[Sepia-toned print 205x156mm]. Informal portrait of the two men, taken at the Dekyilingka. Informal portrait of the two men seated on a verandah in the palace. Informal portrait of the two women standing in a street in Gibraltar.[Gelatin silver print, 70x53mm]. Informal portrait of three Europeans. Informal portrait of three young men, in civilian clothes, seated on a verandah reading. On the table in front are papers, a bottle and glasses, etc. On the left stands a plane table and alidade. Print 30 is a similar view, taken on the same occasion. Informal portrait of three young men, in civilian clothes, seated on a verandah reading. On the table in front are papers, a bottle and glasses, etc. On the left stands a plane table and alidade. Print 31 is a similar view, taken on the same occasion. Informal portrait of Tibetan group. Informal portrait of Tibetan lady in traditional dress. Informal portrait of Tolstoy on horseback, with a pet dog in a basket beside him. Informal portrait of Trevor-Jones, Howell and Lyster. Informal portraits and views of a beach party. Informal portrait snapshot, with bride and groom seated in front. Standing behind are Denise Dane, Sir Louis Dane, Lady Edith Dane, Captain C.R. Dane, Mrs C.R. Dane, Mrs D.B. Sopper. Informal portrait snapshot. Informal portrait snapshot. Informal portrait snapshot of Leslie Crump, Evelyn Howell and an unidentified man posed against a wall at the Rupmati Mahal. Informal portrait study, full length, seated, with dog. Informal snapshot, poor quality, of mother and child. Informal snapshot, poor quality. Informal snapshot.[Gelatin silver print, 132x81mm]. Informal snapshot. Informal snapshot (probably taken by Laithwaite) of five figures in garden. Three are identified: Olaf Caroe, Sam Wylie and Kathy Wylie.[Gelatin silver print, 106x60mm]. Informal snapshot group, taken on the same occasion as print 77. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 106x61mm]. Informal snapshot of father and child. Informal snapshot of group seated on bank in shade. Informal snapshot of the Marquess of Lothian, Chairman of the Indian Franchise Commission, and the businessman Sir Ernest Miller.[Gelatin silver print, 150x108mm]. Informal snapshot of the two men. A pencilled note adds: 'He [Reggie Ashfield] had lost a leg in 1914-18 war in France'. Informal snapshot portrait of Skrine in the Sonamarg Valley.[Gelatine silver print, 87x129mm]. Informal snapshot portrait of the couple seated on a sofa. Inscriptions on the negative read: 'Campbell's Term, June 1858' and 'Taken by Mr Campbell'. A later annotation below the print reads: '""Campbells"" (WMC, Pollock medallist)'. Duplicate at Photo 42 (29) where the sitters are named as follows: 'M.C. Smith; C. Sturt; H. Crichton; G. Skipwith; B. Lovett; A. Fraser; H. Watson; J. James; E. Machell; C. Pemberton; L. Jackson; E. Trevor; W. Campbell; J. Cruikshank; F. Home; J. McDougall; H. Gleig; G. Oldham; J. McCausland; C. Harrison; J. Alexander; K. Mackenzie; P. Marindin; G. Balfour; R. Lowis; P. Lempriere; H. O'Grady; A. Bannerman; D. Williams; R. Thompson'. Instantaneous snapshot.[Albumen print, circular image, 62x62mm]. Instantaneous snapshot portrait.[Albumen print, circular image, 62x62mm]. Interior view of the Awards Hall, with a throne in the background and a globe positioned in the foreground. Other navigational equipment is spread around the room (print slightly spotted).[Albumen print, 306x377mm]. In the garden at Mashobra. Irma Bailey and Frederick O'Connor standing in the Residency garden. Irma Bailey and Tibetans posed on hillside. Irma Bailey posed with shikaris, with the dead tiger lying at her feet. Irma Bailey posed with Tibetan couple. Irma Bailey posed with two Tibetan men and one woman. Irma Bailey seated in a portrable chair slung on a single pole and carried by bearers. Irma Bailey seated in two-wheeled trap drawn by a mule. Small snapshot. Irma Bailey seated on ground with binoculars. Irma Bailey seated on rock beside mountain stream. J.B. Shearer is standing on the right. J.H.E. Reid posed beside his pony Khataf. J.R. Dunlop Smith is sitting on the floor in the centre. J.S. Bell standing in front of village houses.[100x79mm]. J.W. Watson is sitting on the ground in the centre. Jaya Chamaraja Wadiyar seated in centre of group of other children.[Gelatin silver print, 151x108mm]. Jaya Chamaraja Wadiyar seated on horseback in centre, flanked by the Yuvaraja and another member of the royal family.[Gelatin silver print, 134x79mm]. Jinnah at a conference. Not British Library copyright. John Terence Owen Barnard, the Political Officer in command of the Triangle Expedition, sketching in anunidentified village.[Gelatin silver print, 131x81mm]. Kennedy seated behind row of dead game. King Thibaw, Sup'Ayalat and Sup'Ayaji are sitting on a dais in the palace studio. This print is accompanied by a long letterpress description in which the photographer is identified as a Frenchman who who employed as the Court Photographer, or possibly one of his Burmese assistants. A similar portrait from the same sitting is at Photo 472/2 (58). See also Photo 996 (11). L.H. Jacob is marked with a 'X' in the centre of the group. Lady Dufferin seated writing at a desk. Lady Jacob sitting on a step. Lady Ramsden with two men carrying three fish suspended from a pole. Lancers demonstrating a military manoeuvre.[Albumen print, 142x99mm]. Lantern slide. Lantern slide from 31. Large European group in the Residency grounds: 'Miss Hutton, C. E. S. [Stotherd], Col. Jacob, Miss Stephen, Col. Law, Galbraith, Thomason, Miss Stokes, E. H. W. S.[Stotherd's brother?], Stokes, Biggs, Miss Sweetenham, Traill, Macalister, Hendley, Mrs Smythies and child, Mrs Jacob, Warburton, Mrs Law, Mrs Stokes, Stokes, Mrs Thomason, Captain Robinson'. Large European group of which the following individuals are named: 'Mad'lle Berton, Major Hamilton, Lady Maud Anson, Colonel Ardagh, Viceroy [Marquess of Lansdowne], Lady Claud Hamilton, Colonel Cavaye, Lady B. Fitzmaurice, HRH Duchess of Connaught, Lady E. Fitzmaurice, Hon'ble C. Harbord, HRH Prince Albert Victor, Lord Claud Hamilton, Lord Charles Fitzmaurice, Mrs Cavaye, Marchioness of Lansdowne, Lord W. Beresford, Mrs Fenn, Sir E. Bradford, HRH Duke of Connaught, Marchioness of Waterford, Lord Kerry'. Large European group portrait, some figures holding tennis racquets. Probably photographed on the same occasion as the tennis party seen in progress in print 2. Large European group posed outside the clubhouse(?). Lady Ward is sitting in the front row with the presentation piece on her lap, her husband is on her left, and Walter Nightingale is standing right of centre holding a cigar in his left hand. Large European picnic group. All unidentified. Large European social group, posed on the verandah of an unidentified house at Simla. Various members of the Bayley family are identified on the reverse of the print. For another copy of this print, with a more comprehensive list of identifications, see Photo 147/1(1). [297x233mm]. Large European wedding group posed in the garden of a bungalow. Large formal group portrait, posed in front of hospital buildings. Large formal group portrait. Large formal group portrait of Indian dignitaries and British officials, posed on the verandah of an unidentified building. Photograph taken sometime in the late 1870s, but before Temple's departure from India in 1880. Large formal group portrait of Indian dignitaries and Europeans. Sir Jagajit Singh, Maharaja of Kapurthala, is seated 5th from left in the second row. Walter Binny Douglas stands in the back row, third from right. Photograph uncredited, but probably by Bourne & Shepherd.[Silver printing-out paper, 337x192mm]. Large formal group portrait of Shan sawbwas and Myozas. No identifications supplied, but compare with print 1, taken on the same occasion, with many of the same sitters and with identifications. The central seated female figure is Nang Teptila, to her left, Nang Hkan Hkam; Laihka Sawbwa in centre of group. Another copy at print 237. Large formal group portrait with clergy, nuns and visitors. Large formal group posed in front of an unidentified house. James William Macnabb and his daughter Florence are the only figures identified. Large formal wedding group photograph, mainly composed of army officers in uniform. Sitters are identified as follows: Jim Badcock; Lady Perkins; Revd. Thomson; Mr Dyson; Mrs Lane; Mrs Thomson; Mrs Vanrenan; Lady [Theophila Lowther] Badcock; Sir A. Badcock [General Sir Alexander Robert Badcock (1844-1907)]; C.L. Harvey; Mrs Lean; Mrs May; Miss May; L.C. Koe 18th; Mrs Tyler; Mr Badcock; Mrs Vyvyan; Miss May; Mrs Badcock [n�e Perkins, the bride]; Grimston 6th B.C.; A.J. Badcock [the bridegroom]; Sir A. Perkins [Major-General Sir Aeneas Perkins (1834-1901)]; C. Morris; Lady Perkins; A.G. Dallas 16L; Miss May; Mrs E. Perkins; Mrs Hopkins; Mrs Aylmer; Miss Dyson; E. Perkins; Mrs Brackenbury; Miss Moule; Twyford; Davison 16L; Aylmer 16L; B. Doran; Col May; Hopkins 90; Vanrenan 5 B.C.Check Bengal Marriages, vol. 214, f.152 for place of wedding. Large format three-quarter length seated portrait, in civilian clothes, of Lieut-Col (later General) James Thomas Walker (1826-1896), Bombay Engineers. He was Superintendent of the Trigonometrical Survey from 1861-83 and Surveyor-General of India 1878-83. For another copy of this print, with richer tones, see Photo 139/1(14).[Albumen print]. Large group, all named: '[Back row] Mr Clifford, Watt, Parsons, Clarke, Miss Davies, Robert, Clifford Junr, Smith, Dr O'Connor, Jackson. [2nd Row] Burne, Kirkpatrick, Mrs K, Mrs Bush, Bush, Capt [&] Mrs Maxwell, Mrs Donne, Capt Lindsay, Capt Cooper, Du[?]an, Capt Hewitt, Ludlam, Ida Clifford, Miss O'Connor, Miss Powell. [Seated] Mrs Burne, Xydis, Capt Davies, Mrs Dennys, Mrs Clifford, Mrs J, Mrs Clarke, Capt Donne, Eva Clifford, Mrs Anderson, Ivy Kennedy, Mr Demchiades. [Front row, mostly children] Pat Kirkpatrick, Dr Dennys, Dumpy Dennys, Arthur Clifford, M[?], Maurice Clarke, Mr Dixon, 2 Dennys, Miss Gavin, Dorothy Clarke, Blanche Kennedy'. At the back and to the right of the group are three Indian boys identified as 'Tennis chookras'. Large group, probably at Srinagar, which also includes Indian and European officials, including Sir John Thompson to whom the print is dedicated on the reverse: 'Sir John Thompson, with HH the Maharaja's compliments'. Large group all named in accompanying letterpress list: 'Left to right: Back Row. Col Thorburn, Col Muir, Mr Dawnay, Capt Pepys, Staff Officer [from] Dholpur, Col Harvey, Mr McKenna, Col Pepys, Capt Swinton, Capt Williams, Major Anderson, Capt Peel, Fl.Lt Bennett, Lord Ronaldshay, Hon Anthony Mildmay, Major Warde, Capt Bradbrook, Major Vigors, Capt Budgen, Mr Griffin, Capt Lloyd. Middle Row. Capt Wardle, Mr Cunningham, Capt Van Aswegan, Mrs Pepys, Mrs Peel, Miss Thorburn, Mrs Cunningham, Hon Helen Mildmay, Lady Katherine Dawnay, Mrs Warde, Hon Anne Wood, Mrs Anderson, Mrs Swinton, Hon Mrs Lyttleton, Miss Sutton, Mrs Vigors, Capt Sprange, Mr Barron, Capt Alexander. Front Row. The Metropolitan, Lady Emily Lutyens, Hon H.W. Sampson, Gen Sir John Monash, Lady Currie, The Maharaj Rana of Dholpur, Lord Hardinge, The Viceroy, Lady Irwin, The Governor of the Punjab, Mrs Sampson, Genl Sir Arthur Currie, Rt Hon Srinivas Sastri, Lady Worsley, Sir Edward Lutyens'. Large group including 'Dr Peyton, Capt Newington and [his dog] 'Brinnie', J.R.D.S. [Dunlop Smith], Fort Sergeant-Major'. Large group including those seen in Print 136. Large group named as follows: 'First Row - Earl of Gosford; Lady E. Kingscote; Hon S. Grenville; Rt Hon G. Curzon, MP; Gen A. Ellis; Countess of Gosford; Rt Hon A.J. Balfour, MP; Mrs W.H. Grenfell; Sir S. Scott; Marquis of Londonderry; Lady B. Stewart; Lady L. Churchill; W.H. Grenfell; Prince Carl of Denmark; Visct Curzon, MP. Second Row - Earl of Chesterfield; Lady R. Churchill; Duchess of Marlborough; HRH Princess of Wales; Rt Hon H. Chaplin, MP; HRH Prince of Wales; Hon Mrs Curzon; Marchioness of Londonderry; HRH Princess Victoria; HRH Princess Carl of Denmark. Third Row - Lady S. Scott; Duke of Marlborough; Lady G. Curzon'. Large group of adults and children in a garden. Annotation on reverse reads: 'Simla?'. Large group of children in famine relief camp, with women in centre. Large group of children in fancy dress. Large group of children with Miss Urquhart and Miss Henderson. Many of the children have European names, as seen in the annotations on the mount. Large group of European and Indian residents outside a bungalow. Large group of European children. Large group of European men and women, including the following: B. Williams (back row, 4th from left), J. Bidwell (3rd row, 6th from left), Lieut H. Elkington (seated 2nd from left), and from left to right in the front row, unknown, H. Pepper, G.S. Newbold, unknown, T.R. Mundy, Moorhead, E.G. McRae, H. Watts and C. Swift. Large group of European men and women posed in front of a house. No identifications supplied.[Albumen print, 215x164mm]. Large group of European men and women posed in front of the pavilion. Large group of European men including the Lieutenant-Governor of the Punjab Sir Donald McLeod, Colonel C.P. Keyes, Dr E.O. Tandy, Major D. Mocatta, Captain H.N. Miller, Lieut G.B. Crispin, Captain G.E. Watson, Captain B.R. Chambers, Colonel J.L. Vaughan, E.L. Brandreth, Captain C.M. Mercer, and Lieut J.C. Stewart. Photograph attributed to William Baker or John Burke in Omar Khan, 'From Kashmir to Kabul. The Photographs of John Burke and William Baker 1860-1900' (Prestel, 2002), pp. 46-47.[Albumen print, 272x157mm]. Large group of European officers, some of whom have polo sticks. Possibly by Burke as the same sitters from Print 38 appear here (the two men standing on the right and J.H.E. Reid sitting on the ground in the centre facing right). Also includes the 9th Lancers seen in Print 45. Large group of European officials (and one Indian). Robert Clarke, Commissioner and Superintendent, is sitting in the centre next to the Lieutenant-Governor. Sir Louis Dane is sitting third from left. Large group of mission staff posed on road beside the Kyi Chu River. B.J. Gould in centre. 'The Political Officer, Sikkim, had a brave escort of brightly clad attendants all in their best clothes, numbering some forty or more counting clerks, chaprassis, saises, guides and Tibetan officials picked up on the way' (Lhasa Mission Diary, 24 August 1936).[Gelatin silver print, 141x92mm]. Large group of monks posed in front of entrance to monastery. Large group of monks posed in front of entrance to monastery. Large group of officers, including Major Bloomfield Gough, Captain Cyril St.Clair Cameron, Lieut Walter Jenner and Lieut Forrester Colvin (see Print 45). Large group of Scouts with sports trophies. The four British officers seated in the centre are Capt H. Dracott, Captain P.B. Janson, Capt R.K. Garrow and Lieut F.J.M. Nixon. Large group of staff outside the hospital. Large group of students. Curzon is sitting in the centre. Large group of unidentified figures and retinue, posed in front of a masonry wall. Large group on the staircase outside the Hall. Curzon and his father, Lord Scarsdale, are standing towards the rear, half-way up the stairs. Large group photograph, taken on the same occasion as print 132, but with more Baluchis and a second, unidentified European seated in the group. Large group photograph of uniformed police officers. Several figures in front row identified as follows: Sgt MacDonald, Inspector Courtney, N.D.T. Sutton, J.A. Scroggie, Inspector Occam. Large group portrait, all named but only senior staff listed: '(1) Pandit Bhagwati Prasad, (2) Mr Roshanlal, (3) K.S. Mohd. Shaflullah, (4) Miss E. Campbell, (5) Capt C.P.C. Trench, MC, (6) Lt Col J.R.L. Bradshaw, IA, (7) Lady Campbell, (8) The Hon'ble Lt Col Sir Walter Campbell, KCIE, IA, (9) Mrs Trench, (10) Major A.E.G. Davy, IA, (11) T.N. Srivastava, Esqr, MSc, LLB, (12) D.V. Rajagopal, Esqr, (13) Rao Bahadur M.K. Chowdhary, (14) Mr V.S. Borgaonkar'. Large group portrait, all named on verso: 'Front Row: 1. Maung Mye, 2. Nawab Saiyad Mohamed Sahib Bahadur, 3. Mr Subba Rao, 4. The Raja of Kurupam, 5. Mr G. K[e]nrick, 6. Mr W.H. Clark, 7. Sir Harcourt Butler, 8. Sir Guy Fleetwood Wilson, 9. Sir Wm Duke, 10. H.E. Lord Hardinge, 11. H.E. Sir O'Moore Creagh (C in C), 12. Sir Robert Carlyle, 13. Mr Syed Ali Imam, 14. Sir Reginald Craddock, 15. Mr Gokhale, 16. Sir V.D. Thackersey, 17. Pundit M.M. Malaviya, 18. Mr Jinnah, 19. Mr Bhurgri. Middle Row: 1. Mr Gates, 2. Mr S. Sinha, 3. Mr Haque, 4. Bhupendra Nath Basu, 5. Maharajadhiraj Bahadur of Burdwan, 6. Mr L.C. Porter, 7. Surgeon-General Sir C.P. Lukis, 8. Mr S.H. Freemantle, 9. Sir James Meston, 10. Capt Malik Umar Hyat Khan, 11. Maj Genl Sir M.H.S. Grover, 12. Mr E.D. Maclagan, 13. Mr W.H. Vincent, 14. Mr S.R. Arthur, 15. Nawab Abdul Majid, 16. The Raja of Mahmudabad, 17. Mr C.H. Kesteven, 18. Mr W.B. Gordon. Back Row: 1. Mr F. Dempster, 2. Sir Charles Stewart Wilson, 3. M.H. Wheeler, 4. Mr F.A. Slacke, 5. Sir Cecil Graham, 6. Mr A.L. Saunders, 7. Mr R. Carr, 8. Sir T.R. Wynne, 9. Sir A. McMahon, 10. Mr P.C. Lyon, 11. Maulvi Syed Shamsul Huda, 12. The Raja of Dighapatia, 13.Mr Shafi, 14. Mr C.L. Fyffe, 15. Mr Dadabhoy, 16. Sir Gungadhar Chitnavis, 17. Mr Mudholkar, 18. Mr F. Phillips, 19. Mr Meredith, 20. Mr H. Sharp, 21. Mr Brunyate'. Large group portrait, no identifications supplied. Montgomery sits second from the right. A not on the back of the print states 'These large pictures were printed by Lalla Kunkye(?) Lall Assistant Engineer Lahore, CWH [Charles Waterloo Hutchinson], 4/3/58.' The print was originally folded to make an envelope and posted to Henry Yule in Calcutta. Another copy at WD4464 (33). Large group portrait, with Sir Francis Younghusband seated centre beside Lady Younghusband.[Gelatin silver print, 291x190mm]. Large group portrait (named in the duplicate print at Photo 147/1 (2)) reproduced as No 7 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876, where the letterpress description reads: 'The Prince will be at once recognised in this capital photograph. His Royal Highness, the only person in the group not uncovered, has Lord Northbrook on his right and Miss Baring on his left. Prince Louis Battenburg is sitting next to Lord Northbrook, Lord Suffield just behind, and Sir Henry Norman behind him. The Prince's suite are chiefly to the left of the picture, the Indian officials to the right'. Large group portrait below the banner: 'Long Live Mr & Mrs Stotherd'. Large group portrait including H.H. Spalding. Large group portrait of Europeans at Sipi near Mashobra, Simla. Large group portrait of Europeans gathered in front of a tent. In the centre are shields and cups for an unidentified sporting activity.[Silver printing-out paper, 292x142mm]. Large group portrait of frontier tribesmen, with two unidentified Europeans seated in centre. No information supplied. Large group portrait of officials and wives posed in woodland at Simla. Print 122 shows a group taken on the same occasion, but with out wives present. Charles Aitchison is seated in the front row, just left of centre. Large group posed around table on which a number of shields stand. To the right of the table are seated Lady Curzon and the Maharaja of Kashmir. Sir Louis Dane stands behind and to the left of Lady Curzon. The photograph was possibly taken on the same occasion as the race meeting seen in print 101. Large group posed in front of a marquee. Among the guests are the Lieutenant-Governor of the Punjab, Sir William Mackworth Young, Right Revd. George Alfred Lefroy, Bishop of Lahore and Robert Clarke. Sitters are named as follows: '[Back row] Mrs Parker, Mr Diacke, Mrs Jacob, Miss Calvert, Mr Rose, Mrs Pennington, Mr Burton, Mrs Perry, Mrs Pinchard, Major Paroas[?], Major Rawlins, Mrs Campbell, Mr Douie, Miss Marval, Major Lamont, Major Grant. [2nd row] Major Maturiu[?], Mrs Maturiu[?], Rev F. Davie, Mrs Dennys, Capt Dennys, Miss A. Dennys, Miss Murray, Mr Butler, Mr Talbot, Mrs Malan, Mr Malan, Mrs Bird, Mr Bird, Mr Adams, Col Hutchinson. [Seated] Mrs Drummond, Mr Clarke, Mrs Russell, Bishop of Lahore, Mrs Thompson, Mr Thompson, Mrs Clarke, Sir W.M. Young (L.G.), Mrs Hutchinson, Mr Tupper, Mrs Lamont, Mr Hart. [Front row] Mr Connolly, Mr Sandford, Dorothy [Clarke], Mr Ogilvy, Mr Stow, Mr Preston'. Large group posed in front of shamiana, with the day's bag of ducks laid out on the ground in front of them. R.G. Davies seated in centre. Large group posed in the Residency garden at Srinagar. Large group posed outside a house. Large group posed outside the station building, including: 'Jacker DLO; V. Capper; C[harles Stotherd]; Cookson; M[argaret Stotherd]; Mrs Jacker; Colonel W.E. Barron, RE; Mrs Barron; Mrs Cooke; Jamieson; Rao Rajah Sikar; Campion; Cooke; Ram Ditta Mal; Sikar Vakil'. Large group with children sitting in the foreground, staff and guests seated in the middle and a crowd (members of municipality?) standing behind. Large group with key figures named on verso: '(right to left reading from JBS [J.B. Shearer]), Sanjiva Row (Budget Officer), Christie (Deputy Secy), Sir Alan Parsons (Secy), Ayyengar (on special duty in connection with the Reserve Bank. Photograph was taken on the occasion of his departure), Sir George Schuster, Taylor (Addl Secy, nephew of Mr T. of the Greencok Academy)'. Duplicate at Photo 846 (3). Large group with state officials. Large group with the Governor, college staff and students. Large group with the Maharaja of Jaipur. Large group with the Watson family and Indian doctors and nurses. Large group with the Wilberforce-Bells , the Maharaja, his family and state officials. The following are identified: 'Maharaj Kumar Karanjit Singh, M.K. Amarjit Singh, Mrs Gillan, Col Fisher, Rani Amarjit Singh, Self [Wilberforce-Bell], HH of Kapurthala (& grandson), Margaret, Rani Mabijit Singh, Major Gillan, Miss Bowden-Smith'. Large outdoor group portrait. Large police group, in uniform. The British officers, seated at the front of the group, are identified as follows: J.A. Scroggie; G.T.H. Harding; Bernard Brocas Brockhurst Howell (Principal); Tomkins; J.A. Scott; G.B.S. Prance. 'Sitting on the ground, third from left, is H.C. Qazi Ata Mohd, who in later years himself became Chief Drill Instr.' Large posed group of children in front of a tent, with a number of adults behind. Sir Francis Younghusband stands at the back amongst the adults, the second man from the right.[Silver printing-out paper, 290x207mm]. Larger duplicate of Print 37. Larger group, but taken on the same occasion as print 31. Laura Buckingham posed with pony.[Gelatin silver print, 279x228mm]. Lawrence and his staff arranged round a table. All the sitters are named below the print. Probably photographed at Simla. Lieut-Colonel J. Manners-Smith, Resident of Kashmir, posed on hillside with his daughter and dead stag. Lieut-Colonel James S. Forbes is sitting in the centre, a dog on his lap. Lieut-Colonel Reilly is reclining on the ground at the front. Lieut-Colonel Reilly is sitting at the end of the group on the left. Lieut-Colonel Reilly is sitting in the centre of the group. Lieutenan C. St M. Ingham and two other officers on horseback. A faded and yellowed print.[148x89mm]. Lieutenant H.F. Burke, Royal Artillery, seated on a pony in polo kit.[118x88mm]. Lieutenant Henry Montague Smith and Colonel Thomas Donnelly. Lieutenant O. de l'E. Winter on horseback with two other officers.[149x99mm]. Line of seven soldiers on parade.[Albumen print, 378x307mm]. Line of seven uniformed soldiers of the Chin Hills Battalion, representing the various ethnic groups: Kumaoni, Whelquo Chin, Gurkha, Haka Chin, Yahow Chin, Siyin Chin, Garwahli.[Gelatin silver print, 135x78mm]. Lisa Bartram and Wendy (further unidentified) standing with their catch of fish with an Indian servant.[Gelatin silver print, 163x118mm]. Lisa Bartram and Wendy --- on horseback at the side of a lake.[Gelatin silver print, 118x164mm]. Local figure posed with camel. Lord Alfred Paget seated in howdah, holding rifle.[Albumen print, 97x136mm]. Lord and Lady Goschen standing with the Maharaja of Mysore. Lord and Lady Ripon seated centre. Lord William Beresford stands at left with his dog Ponto seated on the chair in front. Next to Ponto is Henry Primrose, Private Secretary. Second copy neg at B.7901. Lord and Lady Willingdon about to get into a car.[Gelatin silver print, 133x82mm]. Lord Carington posed on howdah.[Albumen print, 96x138mm]. Lord Charles Beresford and another figure posed in howdah.[Carbon print, 135x97mm]. Lord Elgin seated with unidentified group. The Indian figure seated next to the Viceroy appears to have been montaged on to the print. Date and location unknown. Lord Hardinge leading a procession of his ADC's (?) on horseback. Lord Lansdowne and party posed outside a marquee at Sipi Fair. Lord Lawrence and Council, Calcutta or Simla. Duplicates at Photo 28/2 (1) and Photo 355/1 (50) which has a letterpress identification key and is dated 'the latter end of 1865'. The identifications in that print are given as follows: (Back row, standing, l. to r.): Mr E. Clive Bayley, Secretary, Home Department; Colonel C.H. Dickens, Secretary, Public Works Department; Colonel H.W. Norman, Secretary, Military Department; Sir W.H. Muir, Secretary, Foreign Department; Mr Whitley Stokes, Secretary, Legislative Department; Mr E.H. Lushington, Secretary, Finance Department; (front row, seated, l. to r.): Hon. Mr W.N. Massey, Hon. Mem., Finance Department; Hon. Mr G. Noble Taylor, Hon. Mem., Public Works Department; Hon. Sir W. Mansfield, Commander-in-Chief; H.E. Sir J.L.M. Lawrence, Viceroy; Hon. Sir H.S. Maine, Hon. Mem., Legislative Department; Hon. Sir W. Grey, Hon. Mem., Home Department; Hon. Colonel H.M. Durand, Hon. Mem., Military Department. Lord Lytton on skis, being towed by a yak. Lord Suffield posed beside kneeling elephant.[Albumen print, 136x97mm]. Lord William Beresford, ADC to Lord Ripon, is sitting in the centre. Lady Charles Beresford, his sister-in-law, is on his left. On her left is Henry Primrose, Private Secretary to the Viceroy. Louis Allen, Olga Allen and (?)Helen Allen posed in front of Barton House. Ludlow and (?)Williamson with Bhutanese ladies. Ludlow and unidentified man seated at table on verandah of house at Maral-bashi. Ludlow seated beside river. Maharaja Javendra Singh is sitting on the left, Macnabb stands at his side.. Probably taken at the time of the Panna-Bhavnagar wedding. Print is tightly rolled and torn. Maharaja Sir Krishnaraja Wadiyar and the Yuvaraja seated in durbar behind a table raised on a dais.[Gelatin silver print, 132x81mm]. Maheshwar Baksh Singh (1803-1881), Maharaja of Dumraon 1844-81.[Albumen print, 95x133mm]. Mahomed Taki posed with rifle and dead gazelles. Major and Mrs Irwin seated at a table in front of their tent. Major Boileau is standing in the foreground with his wife sitting in a jampan behind carried by four bearers. Major-General Sir Edward Huthwaite (1794-1873), Bengal Artillery, seated at a table with three younger men, two of whom are identified as Tillard and Higginson. Major-General Wyndham Charles Knight (1863-1942) and General Charles Monro seated in an open car. Male group, probably railway engineers, posed in a garden. Man, wife and two children seated beneath ceremonial umbrellas. Man identified as 'R.M.P.' seated with pekineses on deck of houseboat. Man named as John Marridin(?). Man of B Company seated beneath trees. One figure marked in ballpoint pen on the print is identified as 'Hebbal' on the reverse.[Gelatin silver print, 138x88mm]. Man standing on footbridge, viewed from below. No further identification supplied. Man standing with his horse. Man standing with ponies. Margaret Ramsden with Residency servants on the lawn. Margaret Stotherd on horseback. Margaret Stotherd standing with a horse. Marianne Loveday Parr (1816-1901), married John Murray at Mhow in 1840. Marriage of Archibald Corrie Macnabb to Alice Walter. Group sitting on chairs named as: 'Douglas Pott, The Bishop of Lahore [G.D. Barne], A.M., A.C.M., Clova, Rawdon'. Mary Hunter's daughter Frances seated in a dandy carried by two uniformed bearers. Modern print.[Gelatin silver print, 127x80mm]. Mary Ramsden sitting beside the river. Mary Ramsden standing by the Gateway of India. Ma Shih Chou (Popon) and Chou ping Yuan (Sunling or Colonel) riding up to Bailey's house at Chumbi, attended by their servants. Ma Shih Chou and Chou ping Yuan seated in Bailey's house. Mathews, Lord Cawdor and Bailey seated beside picnic food. Maude Nightingale and daughter? May Campbell posed in garden. Member of Stein's Iranian escort sorting specimens of pottery sent from Madavan. (Ancient Persis Map C2). Member of the Hogg family? Members of the Naval Fire Brigade posed with hose and pump.[Printing-out paper, 308x249mm]. Meru Gyalwa Depon seated between two servants. Military group, in uniform, identified in key beneath print as follows:Capt. Henry Alexander Walford, Lt. John Thomas Browne, Capt. Arthur Westby Broadhurst, Cornet Henry Augustus Wetherall, Major Robert Alexander, Surg. Major John Phillips Cunningham, Capt. John Dent Bird, Lt. Cecil Mangles, Lt. William Chetwode Lloyd, Lt. & Adjt. Horace Hilton Perkin, Lt. David Carruthers Budd, Cornet Francis John Graves, Col. Charles M'Clintock Cotton, Cornet William John Irwin, Capt. John Cutts Lockwood, Lt. Charles Bailey. Military group posed in front of an unidentified building. The figures are identified as follows: Sgt Hance, Jem. Ishar Singh, Jem. Nawab, L.O. Clarke, Genet (O.C. Coy), Sub. Sadar Din, Jem. Jawala Pershad, Sgt. Good. Military group posed in front of the verandah of a house. The following identifications are supplied: Capt G.P. Hatch, Capt A.V. Payne, Lt A.G. Jeffreys, Col C.L. Harvey Lt R.H.P. Snow, Lt E.C. Eicke, Major Russell, Lt R. Dill, Lt H.B. Welman, Lt A.A.S. Barnes, Lt G.J.Dickson. Military group taken on the same occasion as print 5.[Silver printing-out paper, 141x85mm]. Military group with General Sir James Willcocks in the centre.[Gelatin silver print, 251x152mm]. Military group with the Resident of Hyderabad, possibly taken at the Residency at Bolarum. Sitters (except two) are named in annotations round edge of mount: '[Back Row] Col Ross RA, Capt Pearse RA, Major Wyllie, Major Pemberton, Mr Giles, Capt Sewell, Capt Kennedy, Mr Williams. [Middle Row] Maj ..[?].., [General Saurmarez and C.B. Saunders], Mr James RE. [Front Row] Capt A.A. Johnson, Capt Kelso, RA, Dr Law'. Miscellaneous snapshots, mainly informal portraits of family and friends, but with a few topographical views. The majority of the photographs taken at Delhi and Kailana, but with one print (105) taken in South Africa in 1901 and one (107) taken in Canade in 1905. Miscellaneous snapshots, mainly portraits of family and colleagues, taken at Delhi, Quetta, Naini Tal, Kailana. Poor quality. Miscellaneous snapshots of tiger and buffalo hunting scenes, including Sir James Sifton posed with dead buffalo and a white tiger ('shot by Mr Wakefield') strapped to the front of the Governor of Bihar and Orissa's car. Missionary group portrait. The sitters are identified as follows: R.A.E.; Vanes; Craggs; Spencer; Haigh; Goodwill; Trewhella; Miss Perry; Mrs Vanes; Marshall Hartley; Mrs Haigh; Miss Lamb; Daisy Vanes; Bichy Vanes. Mission group.[Gelatin silver print, 98x78 mm]. Miss McGregor, Sir S.S. Jacob and Lady Jacob on the roof of a temple. Miss McGregor on the roof of a temple. Mitter standing beside an attendant. Mitter was Younghusband's Bengali head clerk, who had accompanied him from the Indore Residency office. Mixed European and Chinese group posed on the steps of an unidentified building.[Printing-out paper, 103x145mm]. Mixed European and Tibetan group (possibly photographed by Irma Bailey). The following identifications are supplied: Evanson, Ludlow, [?]R.B. Narbu, Vance, F.M. Bailey, Tering, Lady Tering, Williamson. Mixed group of police oficers and others. Identified figures (seated l. to r.) are: G.M. Choudhri (police contractor); unknown; J.A. Scroggie; J.T.M. Bennett; unknown (probably the Deputy Commissioner); Ram Singh. Mixed group with Lady White in centre, posed at edge of tennis court.[289x213mm]. Mixed Indian and British group posed with dead lion. William Cecil Edwards stands at the extreme right of the group. A note on the reverse identifies the figure fourth from right as Sir Richard Sykes, for whom the lion shoot was held. Mixed Indian and European group, the Maharaja in the centre. Amar Singh stands at the right of the front row. No identifications supplied. Mixed Indian and European group. The only identified figure is 'M.E.D.', presumably the wife of Walter Binny Douglas, who stands behind her and to the left.[Silver printing-out paper, 288x200mm]. Mixed Tibetan and European group seated on balcony. Modern caption. Modern caption on reverse identifies this group as the Malabar Armed Reserve although the policemen have the letters 'NA' on their turbans Modern caption on reverse identifies this group as the Malabar Armed Reserve but the policemen have the letters 'TIN' on their turbans and the officers uniforms are the same as those in Prints 4-6. Modern caption on verso reads: 'Preparing for Peshawar Vale Hunt'. Modern copy. Missing. modern copy print. Modern copy print. Modern print.[Gelatin silver print, 80x126mm]. Modern print from original glass negative. Posed group of military officers. For a photo-etching of this image, see Photo 527/1 (143). Monk standing at carved wooden window. Slightly unsharp.[Gelatin silver print, 70x122mm]. Montage of cabinet portraits. The sitters are identified as follows: Mr Tribhowandos Mangaldas Nathabhoy, Hon Mr S.M. Moses, Hon Mr Fazulbhai Vishram CIE, Mr Govardhandas Goculdas Tejpal, Mr Mulji Barbhaya and Mr W.N. Wadia (with address of welcome for the Duke of Connaught), Mr Currimbhoy Ibrahim JP, Mr Mahomed Hasan Muckba, Nawabzada Nasrullsah (Khan of Sachim), Mr Govardhandas M. Khatao. Montage of cabinet portraits. The sitters are identified as follows: Sir Jamsetjee Jeejeebhoy, Hon Mr Justice N.G. Chandavarkar, Sir Bomanjee Dinshaw Petit, Hon Dr Pollen LLD, ICS, Hon Sir Lawrence Jenkins (Chief Justice, High Court of Judicature), Hon Mr Justice Budruddin Tyabje, Sir Dinshaw Maneckji, Hon Sir B. Krishna, Mr V.D. Thakersey Mulje. Montage of half-length portraits of the following figures: H.E. Baron Northcote GCIE (Governor of Bomaby), H.E. Baron Ampthill GCIE (Governor of Madras), H.H. Sir Charles Rivaz KCSI (Lieutenant-Governor of the Punjab), H.H. Sir Frederick Fryer KCSI (Lieutenant-Governor of Burma), H.H. Sir James La Touche KCSI (Lieutenant-Governor of the United Provinces) and H.H. Mr J.A. Bourdillon CSI (Acting Lieutenant-Governor of Bengal). The montage also contains a view of the Qutb Minar. Montage of head and shoulder portraits. Other figures identified in the portrait are: Prince Shabzada Sherzaman Khanji (Heir Apparent), Chunilal Sarabhai (Diwan), Sheikh Mahomed Bahuddin CIE (Vazir), M.S. Tripathi (Councillor), Purushottamrai S. Zala (Naib Diwan). Montage of head and shoulder portraits of Calcutta delegates. The figures are identified as: H.H. the Raja of Digapatia, Hon. R.T. Green ICS (Chairman, Calcutta Municipality), Hon Sir Francis Maclean KC, KCIE (Chief Justice of Bengal), Bijoy Singh Dudhoria, Maharaja Bahadur Singh. Montage of three-quarter length studio portraits. The sitters are identified as follows: Hon Mr Justice Benson MA, LLB, ICS, Hon Sir C.A. White (Chief Justice), Right Rev H. Whitehead, Bishop of Madras, Hon J. Thomson (Madras Council). More distant view than Print 45. More formal pose than Print 12. Most of the sitters are identified on the reverse in a modern annotation, including: Major Hobbs, Captain Portal, Lieut Plowden, Surgeon-Major Johnstone, Cicely Goschen, Mrs Johnstone, Lieut-Col Balfour, Mrs Smith, Lord Goschen, Lady Lytton, Lord Lytton, Lady Goschen, Conran Smith and Mrs Balfour. Mother and young child. Very faded print. Mother-in-law of George Crawford Hogg. Mounted group portrait of officers on the parade ground.[Albumen print, 376x297mm]. Mounted lancer. Faded print.[Albumen print, oval image, 118x91mm]. Mounted on similar card to print 6 and probably taken at around the same time. Mounted portrait of standard bearer flanked by two guards. Print in poor condition, with overall spotting.[Albumen print, 300x373mm]. Mounted portrait of three troopers on the parade ground. Print in poor condition, with overall spotting.[Albumen print, 365x307mm]. Mounted portrait of trooper holding rifle. Print in poorish condition, with overall spotting.[Albumen print, 360x298mm]. Mounted portrait of two army officers, probably taken at Lahore, or Quetta.[Printing-out paper, 208x149mm]. Mounted trooper with bugle held to lips. Print in poorish condition, with overall spotting.[Albumen print, 380x310mm]. Mounted troop of Lancers. Print in poorish condition, with overall spotting.[Albumen print, 379x310mm]. Mr and Mrs Monro in garden, with house beyond. The man is presumably A.V. Monro, Deputy Conservator of Forests, Hazara. Mr and Mrs Skrine seated on camel, with Goschen standing to one side. Mr Bartlett, of the London Zoological Gardens and naturalist with the Prince's party, is here seen skinning a tiger in camp with the aid of an Indian assistant.[Albumen print, 135x96mm]. Mr Hodson standing among his vines. Mrs MacGowan and Belli-Bivar in dance scene. Mrs Storrs-Fox (W.C.I.F.) and A.P. seated in a woodland clearing. Mrs Storrs-Fox (W.C.I.F.) photographed at the prow of the houseboat Rustom. Mrs Storrs-Fox (W.C.I.F.) seated in the garden. Mrs Storrs-Fox (W.C.I.F.) seated on the Sind riverbank. Mrs Storrs-Fox and a European couple standing on the bungalow steps. Mrs Storrs-Fox and another woman and dog picnicking at the roadside. Mrs Storrs-Fox and another woman standing at the river's edge. Mrs Storrs-Fox in a woodland clearing. Mrs Storrs-Fox on beach at Oyster Rocks. Mrs Storrs-Fox seated at the water's edge. Slightly unsharp. Mrs Storrs-Fox standing with two servants. Mrs Storrs-Fox with a caged Myna bird. Mrs Wakefield and her son Colin, wearing only a pith helmet, after his swim in the tank (see print 12).[Silver printing-out paper, 62x106mm]. Musician playing on bagpipe-like instrument made from inflated hide. Muspratt posed in front of a bridge, holding two large fish.[Gelatin silver print, 74x100mm]. Named as: 'Richards, S[?], John Wilson, Dick Miskin, Reggie Bond, Hugh Clark, Rahimo, Sharifo, Mike Gardiner, Self [P.B. Janson], Roddy Fraser, Peter Manson'. Named as: 'Thomason, Mrs Law, Col Law, Mrs Thomason, Hendley, Rev Hutton'. Named as 'Indur Singh' and 'Partab Singh'. Named as follows : '1. Major Hamilton, 2. Captain Hon'ble C. Harbord, 3. Lieut Creagh, 4. Sir Donald Mackenzie Wallace, 5. Lord Bingham, 6. Colonel Ardagh, 7. Captain Pakenham, 8. Captain Streatfield, 9. Surgeon-Major Fenn, 10. Lord William Beresford'. Named as follows: 'Earl of Pembroke; Lord Ribblesdale; Countess de Grey; Countess Brownlow; Miss Ponsonby; Hon G. Curzon, MP; Earl Brownlow; Countess of Pembroke; Lady Ponsonby; Lady Ribblesdale [nee Charlotte Tennant]; Miss M[argot] Tennant; Earl de Grey'. Named as follows: 'Gomanji, Atchraol, Bhoorji, Jowahirji, Mrs Richardson, Herbert, Irwin, Khetri, Col Jacob, Mrs Jacob, Devi Singh, Rupji, Kalyans, Richardson'. A similar group is at Photo 448/2 (57). Named as follows: 'Jack Nixon, Spider Keogh, Rowly, Liver, Bushmac, Ralph Venning, Scotty, Self [P.B. Janson], Dan Dewar, David Williams, Willy Wilcock, the Quack Moody'. Named as follows: 'M. Longfield; Hon G. Curzon, MP; J.F. Mason; F. Mason; Lady I. Boyle; T.C. Edward-Moss, MP; Miss Mason; Miss Norris; Earl of Cork; Cap A. Peyton; Major Norris; V. Ames'. Named as follows: 'Miss Stephen, Bhoorji, Mrs Jacob, Lord, Mrs Hendley, Rupji, Col J[acob], Whitehorn, Cookson, Irwin, Macfir [?], Hendley, Low, Macalister'. A similar group is at Photo 448/2 (58). Named as follows: 'Scott, Dracott, Macdonald, Nixon, Self [P.B. Janson], Donald (APA), Baily, Venning, Palmer (IMS), Sandison, Wilcock, Oliver, Skrine, Dring [?], Maj Cosby (Cmdt), Col Parsons (Resident), Col Erskine (IOFC), Barnes (PA), Fitzmaurice, Garrow'. Named asL 'Lt Rushton, RE; G.K. Watts, CE [and] J. Mitchell, CE'. Named Europeans and crew on board a sailing boat. Named from left: 'Ramjeelal, Musoo [and] Lal Singh'. Named on the reverse as, 'Pat, Smith [?], Jack'. Named on verso: 'L to R: Laman (5/1), Lawley (ISE), Loring (Lancers), [Unknown], Hearn, Leslie-Smith (10/14), K.S.Sh. Nazir Ahmad (Manager), Gordon-Walker, Asquith, [J.B. Shearer], Innes (RSF), Brierley (IMS), Samut (IASC), Miss Allom, [Unknown], Miss Boyd, Mrs Samut, Mrs Sykes, Mrs Leslie-Smith, Mrs Hearn, Begum of Mamdot, Mrs Stewart, Mrs Innes, Miss Nichols, Raffles [dog], two Leslie-Smiths and an Innes [children]'. Named on verso as: '[Back row] Bidwell, Marcoolyn, McRae, Ashmore, Grey, Unknown, Watts. [Seated] Newbold, McDermott, Mundy, Gen Gatacre, Moorhead, Elkington, Unknown, Swift. [Reclining on ground] [Johnstone], Williams'. Named on verso as: '[Back row] Pepper, Whitbread, McRae, Johnstone, Ashmore, Watts, Ashworth, Bidwell. [Seated] Williams, Marcoolyn, McDermott, Elkington, Newbold. [Sitting on ground] Clarke, Clarke, Laughton, ..[?]..'. Named sitters include: Harris, Brebner and Ewbank (all PWD); Sir Sidney Crookshank (Chief Engineer, PWD, and Secretary of the Dept); Sir Bayya Narasimhesurma Sarma (Member of Council); Sams (Secretary of Posts & Telegraphs); Chambers and Dollman. Named sitters include: John Chambers, Superintendent, PWD; Dollman, Assistant Secretary; Sir Alex Brebner; Harris, Department Secretary; Arthur Ley, Secretary and Bhupendra Nath Mitra, Member of Council. Napier is seated third from left. Remainder of group unidentified. Nawab Amir Ali Khan (1810-79). Full-length seated portrait. The sitters left hand is holding a cane, his right arm resting on the back of his chair. Nebira without tea tray. Negative only, no print. Ngagchen Rimpoche on horseback, his mount held by two attendants. 'Ngagchen Rimpoche came to lunch. He is a genial, bald-headed, much-travelled little man with a 'goatee' beard and a twinkle in his eye. He is a great diplomatist. When he first came to see us he quibbled to such an extent that we discovered nothing - which was his intention. But today he was in a most confidential mood, and the reputation of no high official in Lhasa was proof against his caustic - but generally just - criticism.' (Lhasa Mission Diary, 4 November 1936).[Gelatin silver print, 111x155mm]. Niece of G.C. Hogg? Nihal Singh posed with the bag from a bird shoot.[Silver printing-out paper, 96x121mm]. Nine small snapshots: informal family portraits.[Silver printing-out papers and gelatin silver prints, various sizes]. Nizam and retainers leaving racecourse.[Gelatin silver print, 126x82mm]. Noel Shore in centre of Indian group. The figure standing beside Shore holds a placard reading 'Ormrod Municipal Primary School Najiba Bad 1923'. None identified. Possibly high-ranking official eg. Governor of Bombay. None identified. Probably the Resident and staff. Not British Library copyright. Duplicate of Print 28. Not British Library copyright. Not British Library copyright. Note below print reads: 'Taken at Ex[ecutive] Eng'ns bungalow, Malakand, April 1911'. Some sitters are identified as follows: 'Pinel (Supt Workshops), Logan (Charge steam navvy)[?], C.Walton (Electical Engineer), G.M. Ross (SDO Dargai), W.R. Sangster (Exec. Engineer), S.H. Digsby (SDO Malakand), Accountant, E.L. Dill (Master miner)'. Note on reverse reads: 'These are non-enlisted men but p[?] by British to police their own country. Must provide own weapons. Under no over[?]'. Notes accompanying the print read: 'Picture sent to my father Valentine King[?] Tripe after the death of his father Walter Delamain Tripe in 1928. The latter was a nephew of Linnaeus Tripe. Inscription mounted and framed reads: Major General L. Tripe (late 12th Madras Native Infantry). For many years a friend and supporter of Miss Daniel's Soldiers Home, Stonehouse, Plymouth'. Notes on reverse have been heavily annotated. Sitters in the front row of the group include: John Chambers, ICE; Sir Alex Brebner, ICE; John Armstrong Shillidy; ICS; Sir Bhupendra Nath Mitra, Member of Council; Sir Thomas Ryan. Officers named as: 'Capt F.J. Craigie, Lieut F. Lance, Lieut R. Clifford'. The photograph is accompanied by some handwritten biographical notes on the careers of the officers. The image is also reproduced in 'History of the Second Panjab Cavalry from 1849 to 1886' (London, 1888), there dated 1859. Officers named as: 'Rissalder Abbas Khan, OM 3rd Class; Riss Shahzada Ghulam Haidar (late Riss Major); Rissalder Hakdad Khan, OM 3rd Class'.This photograph is also reproduced in 'History of the Second Panjab Cavalry from 1849 to 1886' (London, 1888) and there dated 1859. Officers named on a board behind the group: 'Major Ketchen, Lt Col Singleton, Lt Reilly, Sur Maj Keith, Lt Aplin, Lt Chase'. Official group portrait of delegates. Official seated on carpet with hookah, surrounded by attendants: 'From Bhawun the view across the rice producing valley to the snow-clad Himalayas above Dhurmsala is very beautiful. A native subcollector or Tuhseeldar of revenue holds a Small Cause Court here.' (Egerton , p. 2). Official seated with their papers. Of the six Europeans, W.H. Nightingale and Mr & Mrs Sevenoaks are identified. The same group is seen posed in front of the Club in Print 50. One of a series of prints originally contained in an envelope marked 'Amanulla in Kabul before the Revolution which deposed him'. Snapshot view of the king and officials standing in a doorway. The original caption mistakenly gives the date of his deposal as 1930. One of a series of prints originally contained in an envelope marked 'Amanulla in Kabul before the Revolution which deposed him'. The original caption gives the date as 1929 but he was already deposed by then. One of a series of prints originally contained in an envelope marked 'Amanulla in Kabul before the Revolution which deposed him'. The print shows the king firing into the sky watched by a large crowd. On horseback. Bayley's official diery for 8 August 1906 relates that 'Mr Maller, a European trader interested in carpets, arrived here. He is the first European trader to visit the trade mart.' On 10 August Bayley accompanied Maller to see the carpet factory at Gobshi and on 13 August Maller left for India: 'He was unable to make any satisfactory commercial arrangement with the traders or manufacturers here.' On horseback. Orderlies with tame gazelles on leashes.[113x81mm]. Orderly holding two ponies (Bell's on right) by the bridle. Original artwork for a Savage Club House Dinner, presumably in honour of Scott, signed 'Hassall', and featuring a pen-and-ink drawing of Scott seated on his baggage while engaged in boundary commission work.[Pen-and-ink drawing, 412x343mm] Original caption read: 'Sparrow doing ""Puja's""', but this was crossed out and replaced by 'RBH'. Change of identity of man possibly related to scratched out figure (see Intro). Original caption reads: 'Mohmund Arabs'. No 1392 in the Bourne & Shepherd catalogue (although this is probably a Charles Shepherd or Shepherd & Robertson photograph): 'Native Gentlemen (Pathans), Peshawur Valley'. Duplicate at Photo 793 (46). Original caption reads: 'Wazeerzudahs, Suddozai Afghans'. No 1390 in the Bourne & Shepherd catalogue: 'Group of Cabulese'. Original caption wrongly reads: 'Group of Parthan chiefs from the Peshawar Valley'. Reproduced as No 91 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. Original glass negative, no print. Original glass negative, no print. Original glass negative (damaged), no print. Original glass negative (damaged), no print. Original glass negative (damaged), no print. Original glass negative (damaged), no print. Original glass negative (damaged), no print. Original negative and modern print of this photograph at Photo 527/2 (73). Original print at Photo 66/8 (74). Original �-plate glass negative only, no print. Group portrait, similar to 30. Lantern slide from this negative at 60. Original �-plate glass negative only, no print. Group portrait. Original �-plate glass negative only, no print. Group portrait. Original �-plate glass negative only, no print. Group portrait of members. Original �-plate glass negative only, no print. Group seated on verandah. Original �-plate glass negative only, no print. Similar to 32. Original �-plate glass negative only, no print. Similar to 45. Original �-plate glass negative only, no print. Original �-plate glass negative only, no print. Original �-plate glass negative only, no print. Original �-plate glass negative only, no print. Three-quarter length portrait of the two men on the verandah of the hospital. Original �-plate glass negative only, no print. Three-quarter length portrait of youth, standing on verandah of hospital. Other named officers are Capt Peyton, Col Tate and Capt Cookson. Out of focus portrait of the three figures posed beneath a triumphal arch. Oval group portrait, in contemporary window mount, showing army officers posed in front of a bungalow. The only figure who has been identified is Frederick Sleigh Roberts (1st Earl Roberts of Kandahar), standing on the right at the back. Oval group portrait, with Colin and Jane Murray standing at left, Donald Murray standing centre, Kenneth Murray seated beside Helen Isabella Murray. The woman standing second from right is unidentified, but is presumably Helen Elizabeth (1838-1894), wife of Kenneth Murray.[Modern gelatin silver print, 75x93mm]. Oval print, half-length portrait. Oval print, head and shoulders portrait. Oval print, partly obscured. Oval print, partly obscured by overlapping photographs. Oval print. Group of European figures standing in front of a tent. Oval print. Head and shoulders, in uniform. Oval print. Head and shoulders portrait. Oval print. Head and shoulders portrait. Oval print. Oval print. Oval print. The same man is seen sitting outside a bungalow in Print 2. Oval print depicting a large group of Europeans in front of a bungalow. Oval print of a head and shoulders painting. Oval print of a head and shoulders painting. Oval vignette. Poor quality. No identifications. P.B. Janson is standing third from left in the back row. P.B. Janson with his orderly, shikaris and two dead leopards. P. Rothera was an Assistant Engineer in the South Indian Railway Co .. The Chief Engineer, W.H. Spalding, is seated in the front row. Page, Tobgye and F.M. Bailey seated round a table in the open air. Painting by George Percy Jacomb-Hood (1857-1929), probably executed in 1902 when he was sent to India by The Graphic to cover the Delhi Durbar. Panoramic portrait in two parts. Doctors and nurses listed on negative as: 'Miss Moles, Miss Holmes, Miss Oliver, Miss Rawlings, Miss Butcher, Miss Moore, Miss Morgan, Dr Dias (Resdt M.O.), Dr Marion Hunter, Surg. Capt. Lloyd Jones in Supervisional Medc Charge, Dr Adams, Miss Wheatley Lady Supt of Nurses, Miss Mousley, Miss Hill, Miss Bickers, Miss Tanner, Miss McGovorne, Miss Leslie, Mrs Carstensen'. Panoramic print.[Gelatin silver print, 281x102mm]. Panoramic view (cut down) of group of railway officials, with locomotive on line in background. Photograph uncredited, but possibly by Lloyd Jones or Dr Edmund Henderson Hunt.[Silver printing-out paper, 237x89mm]. Parr standing with young Indian boy dressed in European clothes. The boy is presumably the nephew of Ghulam Mohamed, who in print 146 is referred to as 'our host' at the pig-sticking meet. The couple are standing in front of the tent seen in print 134. Parsons seated on ground, at right. Party seated round table in camp, identified as follows: Dickson, Haughton, H.F. Burke (Royal Artillery), Mrs Dorothy Franklin, George Denne Franklin (IMS), General Firman Ali Khan, Mrs Appleford (wife of W.P. Appleford PWD), Clendon Turbeville Daukes (Acting Political Agent, Gilgit), Cecil Gardner Ames (52nd Sikhs). Faded print.[Silver printing-out paper, 126x101mm]. Pembroke College Eight. All named including Wilberforce-Bell. Perceval Landon posed beside the finial on the monastery roof. Landon (1869-1927) was the 'Times' special correspondent with the Younghusband Mission and the author of 'Lhasa' (1905). Pet dog Herbert posed with child. Peter Ernest Slack seated in a rickshaw. Peter Ernest Slack seated in the garden of his house at Jubbulpore, with a uniformed servant standing on either side of him. Print 119 is an enlarged copy of this photograph. Peter Ernest Slack seated on ground in centre. Photograph copy of a painting, mid-19th century. Photographed at the Polo Grounds. Second copy negative at B.9063. Photographer's wet stamp on back of print.Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Photographic copies of silhouette caricatures.[Gelatin silver prints]. Photographic copy (carte-de-visite size) of a three-quarter length portrait of Charlotte Canning and her sister Louisa, Lady Waterford. [Albumen print, 54x86mm]. Photographic copy of a (?watercolour) portrait of Sir Mark Cubbon (1785-1861), Commissioner of Mysore 1834-61. Side view, in uniform, seated on horseback.[Albumen print, 132x102mm]. Photographic copy of a framed engraving in very poor condition. Photographic copy of a full-length portrait in oils. Photographic copy of a half-length miniature painting of General George Godfrey Pearse (1827-1905), Madras Artillery.[Silver printing-out paper, 98x136mm]. Photographic copy of a half-length painting, artist unknown. Photographic copy of a half-length painting. Photographic copy of a half-length portrait by P.A. de Lazlo. Photographic copy of a half-length portrait of a young girl. Photographic copy of a half-length sketch of Emily Vibart, made by her cousin Edmund Vibart in December 1853. The sketch is titled 'Emmy as a little sailor'. A note beneath the print reads 'Emmie who was taken to the boats, and never heard of again.'[Gelatin silver print, 87x116mm]. Photographic copy of a head and shoulders profile silhouette portrait. Photographic copy of an Indian painting. Photographic copy of an oval miniature portrait of John Stackhouse, President of Fort William 1831-38.[Albumen print, oval image, 35x40mm]. Photographic copy of a painting, artist unknown. Equestrian portrait.[Albumen print, 98x135mm]. Photographic copy of a painting.[Albumen print, oval image, 132x152mm]. Photographic copy of a painting. Head and shoulders full-face portrait. Photographic copy of a painting. Head and shoulders profile portrait. Photographic copy of a painting. Photographic copy of a poor quality head-and-shoulders portrait of a bearded Nicholson. The painting appears to be a copy of the portrait by William Carpenter, painted in Peshawar in 1854, now in the National Portrait Gallery. Photographic copy of a portrait, unfinished. Photographic copy of a portrait, unfinished and with colour notes. Photographic copy of a portrait.[Gelatin silver print, oval image, 91x116mm]. Photographic copy of a portrait (unfinished?). Photographic copy of a portrait head of Nicholson by an unknown artist. Photographic copy of a portrait made in 1898, reproduced on the Chin Hills Battalion Christmas card for 1938. The accompanying note reads: 'The famous Siyin fighting chief, Mang Lon of Sagyilain, a Siyin hero of the Chin Hills of 1888-89-90 and who afterwards rendered great services to the Government of India during the Aiyin-Nwengal Rising of 1892.'[Gelatin silver print, 65x84mm]. Photographic copy of a three-quarter length portrait of Queen Victoria, wearing the order of the Star of India. Artist unidentified.[Woodburytype, 122x192mm]. Photographic copy of a three-quarter length sketch of John Vibart, made by Edmund Vibart in December 1853. A note beneath the print reads 'Johnny, who died in the entrnechments.'[Gelatin silver print, 88x103mm]. Photographic copy of half-length portrait. Pencilled caption on reverse of mount continues: '...now in possession of Mrs Rowe (daughter of John Clark Marshman C.S.I.) to whom it was bequeathed by her mother. It is believed by the Marshman family to be the portrait of Mme Grand by Zoffany which originally belonged to Rev. Joshua Marshman, one of the founders of the Serampore Mission, and which was brought back to England by his son, John Clark Marshman. That the Marshman family are mistaken as to the identity of the likeness is clear.' Photographic copy of painting.[Gelatin silver print, oval image, 84x120mm]. Photographic copy of plate 11 of Portraits of the Kabul Prisoners [1843], OIOC pressmark V.6667. Photographic copy of plate 22 of Portraits of the Kabul Prisoners [1843], OIOC pressmark V.6667. Photographic copy of plate 8 of Portraits of the Kabul Prisoners [1843], OIOC pressmark V.6667. Photographic copy on one print of eight individual portraits, identified as follows: The Hon'ble Mr Lim Chin Tsong (now OBE); Maung Set,Asst. Acct.-Genl; U kyin Yon KSM, Extra Asst Commr; Mr George Blackstock (now OBE); Maung Maung of Oktwin; Mr Prasad, Postmaster; Mg. Hia Maung, artist; Mg Ba Sein, Chief Clerk, Burma Railways (now T.P.S.). Photograph marred by heavy shadow. Photograph of a chalk drawing. Head and shoulders portrait. Photograph of a circular medallion showing the two heads, in profile. Photograph of a lithograph. Head and shoulders portrait. Photograph of an engraving. Head and shoulders portrait. Photograph of a painting. Photograph of a painting. Photograph of a painting or possibly of a heavily overpainted photograph. Photograph of plaque with profile portrait in relief of Sir Dietrich Brandis (1824-1907), Inspector General of Forests.[Albumen print, 108x153mm]. Photograph of the full-length standing statue, with base, made by J.C. Lough in London in 1862, to stand in St Paul's Cathedral. Photograph of the Maharaja with his son and suite, printed as a vignette. The following are identified by annotations: 'Kirpa Ram, Jowalla Sahai, (son), M.R., Pundit Nilambar'. Photograph possibly by Phillips? The group includes 'J.R.D.S. [Dunlop Smith], Mrs Ralston, Col Ralston [and] Dr Killery'. Photograph possibly by Phillips? This print is a trimmed down version of Print 168 in which all are named. In this print only 'Mrs Ralston, J.R.D.S. [Dunlop Smith], Dr Killery [and] Col Ralston' are identified. Photograph possibly taken by Colonel Savile, who appears in print 20.[Silver printing-out paper, 138x78mm]. Photograph showing two men and a women seated at a table laid out with tea in a garden, probably at Rangoon.[Albumen print, enclosed in photographer's envelope, 145x99mm]. Photograph taken on the same occasion as print 14. Photograph taken on the same occasion as prints 128-129, showing group seated at tea in a garden. The figures in the photograph are identified on the reverse of the print as follows: Miss Seiler (American); Rawdon Macnabb; Chief of Sangli; Mrs Rivett-Carnac and Eric; Clova Macnabb. Photograph uncredited, but probably by Martin rather than Bell. Photo is signed 'With best compliments from J.S. Haji'. Picnic group in front of a wall.[Silver printing-out paper, 83x80mm]. Picnic scene with Mary Ramsden. Picnics groups.[Gelatin silver prints]. Pierrot costume group with Lady Thirkell White in centre, on terrace of Government House. Similar to print 23. Print unsigned, but probably by Klier.[Gelatin printing-out paper, 270x206mm]. Pigsticking group. Pilgrim group posed with East Bengal Railway personnel (who hold placards reading 'E.B. Railway Conducted Excursion'). Pishi Depon seated in the verandah of Bailey's house, with three servants gathered round him. Prints 201-202 are better quality portraits than 196-198. Plain clothes police group. Platoon marching. Print in poorish condition, with overall spotting.[Albumen print, 377x312mm]. Platoon of soldiers on parade. Print in poor condition, with overall spotting.[Albumen print, 373x311mm]. Platoon on parade. Print in poor condition, with overall spotting.[Albumen print, 381x310mm]. Platoon on parade. Print in poorish condition, with overall spotting.[Albumen print, 385x304mm]. Platoon on parade in front of barracks. Print in poorish condition, with overall spotting.[Albumen print, 380x305mm]. Players include: 'Partab, Narain, C.E.S. [Stotherd], Bhoorji'. Poorly taken photograph in which the top of Forbes' head has been omitted. Poor quality portrait of Charles Stotherd with the Jacobs at a temple. Poor quality portrait of Lady Jacob standing with a camera. Poor quality print. All named: 'Left standing - (1) G. Das; (2) A. Bagchi; (3) S. Sen; (4) G. Bose; (5) D. Mukuti; (6) A. Ganguly. Chair - (7) Mr K.D. Ganguly (Asstt Secy); (8) Mr S. Abedin (Hony Secy); (9) Mr F.O. Bell (President); (10) Mr B.N. Chatterjee (Captain); (11) Mr U.N. Ganguly (Asstt Secy). Front - (12) N.Das; (13) D. Mukherjee; (14) S. Roy. (15) A. Roy. (16) M. Sarkar'. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality print. Poor quality snapshot, 76x100mm]. Poor quality snapshot, taken on the same occasion as print 40.[82x109mm]. Poor quality snapshot.[86x74mm]. Poor quality snapshot.[86x75mm]. Poor quality snapshot.[Gelatin silver print, 61x101mm]. Poor quality snapshot. Informal group posed beside tennis courts. Poor quality snapshot. Poor quality snapshot (blurred) of Henry Ellioit in the Shalimar Bagh. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 63x105mm]. Poor quality snapshot of a man standing by a rough track in a rural landscape. Poor quality snapshot of European group in front of house.[Silver printing-out paper, 82x101mm]. Poor quality snapshot of H.C. Hinchcliffe, F.A. Wrigley, Edwards and A.E.F. Robertson.[85x76mm]. Poor quality snapshot of Laithwaite and a European women in the garden of the Ghulab Bhawan.[Gelatin silver print, 80x49mm]. Poor quality snapshot of Lieut Orlando George Gunning of the 35th Sikhs, an orderly standing in the background. Poor quality snapshot of the three officers seated on deck.[Gelatin silver print, 78x56mm]. Poor quality snapshot of three children. Poor quality snapshot portrait of Mrs Lawlor standing in front of a bungalow (presumably railway staff accommodation).[Gelatin silver print, 77x101mm]. Poor quality snapshot taken at Conchilla's Hotel, as seen in Print 15. Portrait, in uniiform, of Sir Vincent Eyre (1811-1881), Bengal Artillery 1828-83.[Albumen print, 90x120mm]. Portrait, mounted on card in folder, of Eleanor Rivett, Principal of the Women's Christian College, Madras, 1938-47. Portrait. Portrait (slightly distant) of the tow men posed on the verandah of their quarters at Kashgar. Ferdinand Stoliczka (?-1874) joined the Geological Survey of India in 1862; he was selected to join Forsyth's mission as geologist and composed a number of papers on the geology of the route to Kashgar. He died from over-exertion and exposure at Boolak-i-Moorghai, 12 marches from Leh, on 9 June 1874. John Biddulph (b. 1840), ADC to the Viceroy Lord Northbrook at this period, and later Resident at Baroda (1893), wrote a number of sections in Forsyth's published account of the mission. Portrait bust by Lawrence Macdonald. Rupert Gunnis, 'Dictionary of British Sculptors 1660-1851' gives 1838 as the date of this bust. [167x220mm]. Portrait bust of Lord Canning by Lawrence Macdonald. Print faded in highlights. Note in Lady Bayley's hand reads: 'Given me by Mr George Dempster of Skibo.' [165x204mm]. Portrait from the same sitting as Print 68. Portrait from the studio of Merrick & Co, Brighton, England. This is possibly a portrait of Sophia Elizabeth Longden, wife of Edward Harcourt Longden, who was Director of the Orphan Press, Sikandra, and later Curator of Government Publications and Deputy Commissioner for registering claims for compensation, Agra. Portrait group, in very poor condition, considerably faded. Portrait group, probably photographed, or at least organised by Robert Gill, who sits on a cushion on the ground in the centre, in profile. The woman in white, seated on a chair over which a leopard skin is draped, is Mary Ann Nicholl (1850-1913). The young mman seated fifth from left behind the flower arrangement on the table, is Charles Atkinson (1837-1911), who served with the 89th and 34th Foot. (Identifications of Nicholl and Anderson supplied by Edward McKillop Nicholl, great grandson of Mary Ann Nicholl, 1999).[Albumen print, arched top, 182x132mm]. Portrait group, taken in the open air. An (incomplete) list of sitters is given, as follows: Mrs Lambert, Captain Lambert, Julia Burnett (without hat), Mrs Lake, Major Lake, Dr Homan, Emily Burnett (black hat and white feather), Mr Sharp the Padre [John Falconer Sharpe].[Albumen print, 285x193mm]. Portrait group, with fewer people than print 20, but apparently taken on the same occasion but different location. Robert Baker-Carr reclines on the ground front right; Hugh Barnes stands in the back row fourth from right. Edith Helen Barnes, wearing riding habit and hat, is seated in the middle row, fourth from left. Portrait group, with the Prince of Wales and suite gathered round the dead tiger. The sitters in the group are identified as: H.R.H. The Prince of Wales; Lord A. Paget; Sir Joseph Fayrer; Major Bradford; Mr Sidney Hall; Mr W.H. Russell; Lord Aylesford; Col. Beynon; Major Henderson; Lord Carington. Duplicate at Photo 992/1 (87).[Carbon print on cabinet portrait mount, signed 'Bourne & Shepherd' in the negative, 137x91mm]. Portrait group. Photograph unsigned, but possibly by Watts & Skeen. Portrait group. Portrait group among trees. Portrait group of diners at the head table, with the Prince of Wales seated in the centre as guest of honour. It was at this dinner that the Prince announced the institution of the Indian Police Medal by his father, King George V. Portrait group of European and Indian dignitaries, posed on a verandah. Sir William Lockhart stands with Sir Pratap Singh, Maharaja of Kashmir, in the centre of the group, with Hugh Shakespear Barnes to the right. Probably photographed at Srinagar. Portrait group of figures in costume, presumably for amateur theatricals. The following sitters are identified on the mount: Captain Currie, Maharaja of Cooch Behar (Sir Nripendra Narayan Bhup), S. Walker, Bunbury, Lieutenant Dyne, (?)Mackay, Captain Lister, Elliot Graham Colvin, Henry.[Albumen print, 290x210mm]. Portrait group of Indian officials, with two Europeans (Sir Francis Younghusband on right).[Silver printing-out paper, 147x99mm]. Portrait group of Rupen Kyi Buk, his wife, children and servants, in his camp at Gyantse. The dzong is visible in the background. Portrait group of Tibetans and Europeans in the compound of the Agency house at Gyantse. The European in the back row is identified as Langrishe in the following prints. Portrait group seated and standing in front of a tent at Ambala. This group was taken at around the time of the durbar at Ambala when the Viceroy Lord Mayo received the Amir of Afghanistan. Clarence Comyn Taylor took a number of portrait groups at the durbar and it is possible that this is also his work (see Photo 50/1). The following figures are identified on the a note enclosed with the print: Major E.C.S. Williams, Lieut J.C. Manderson, Capt A.I. Filgate, Col W.A. Crommelin, Lieut Col Ralph Young, Capt H.H. Jone, Major F. Brine, Lieut Col H. Drummond, Col I.D. Campbell, Col R. Stanley, Lieut Gen Lord Napier of Magdala, Maj Gen Sir H.M. Durand, Col R. Maclagan, Lieut Col I.T. Walker. Portrait group taken in the vicinity of the S� La. The Nyerpa (steward or headman) Namgye was a representative of the Poba queens. For Bailey's dealing with Nyerpa Namgye, see No Passport to Tibet, pp. 78-85, this photograph reproduced facing p. 49. Portrait group with European families on three elephants. A pencilled note beside the print reads 'A week later the middle elephant killed his mahut'. The figure standing beside the middle animal is identified as 'C.E.S.' (probably Major C.E. Sawyer) in prints 42 and 47.[Albumen print, signed 'Townshend Phot.' in the negative, 276x211mm]. Portrait group with the Sawbwa of Lawsawk, two wives and a child, seated in front of decorative hangings. The Sawbwa is Hkun Hsuk (b. 1863). The youth is probably his son Hkun Hsa (b. 1895).[142x83mm]. Portrait in a rural setting (Wales?). Portrait includes the Principal, Henry Peers Dimmock.[Platinum print.] Portrait of: 'C. Spring Rice, W.C. Hillier (HBM's Consul General), [and] Hon G. Curzon, MP', all wearing diplomatic uniform. Portrait of: 'Mrs Jacob, Tate, Col J[acob], Mrs Tate'. Portrait of (General Sir) Harry Beauchamp Douglas Baird (1877-1963), in uniform, on horseback. Signed 'D. Baird XII B.C.'[Silver printing-out paper, 210x159mm]. Portrait of A.B.Steward and Henrietta 'Etty' Hogg having tea in a garden. 'Nuggur' or Nagar was another name for Ahmadnagar. Duplicate at Photo 806/2 (146). Portrait of a baby being bathed by its mother and ayah. Portrait of a baby in her pram with an ayah and attendant loooking on. Portrait of a boy on a tricycle. Portrait of a boy standing with a goat. Portrait of a child in a push-chair attended by an Indian servant. Portrait of a child in fine clothes sitting on a chair. Portrait of a clergyman standing in the garden. Portrait of a couple having tea in a tent. Portrait of a couple in the Residency grounds. Portrait of a couple sitting in chairs on a verandah. Portrait of a dog. Portrait of a dog in a flower bed.. Portrait of a European and Indian standing at the top of the fort. Portrait of a European couple. Circular print. Portrait of a European couple. Portrait of a European couple and dogs outside a bungalow. Portrait of a European man and shikari with a dead animal (ibex?).[Printing-out paper, 156 x 204 mm]. Portrait of a European man holding a baby. Portrait of a European man standing in snow. Portrait of a European woman. Portrait of a European woman. Portrait of a European woman sitting on the top deck of a houseboat.. Portrait of a European women standing on a snow-covered path, either in Sikkim or Tibet. Portrait of a friar. Portrait of a girl and dog. Portrait of a girl and pony. Poor quality print. Portrait of a group of boys. Portrait of a group of European men and women. Portrait of a Kashmiri guide (?). Portrait of a large group of boys. Portrait of a large group of European men and women, posed on the grandstand of a racecourse. Portrait of a large group of women seated on the hillside. Portrait of Alice Pryce sitting in a chair. Portrait of all the women who appear in Print 53. Portrait of a local chief on a camel. Portrait of a local chief on a white horse. Portrait of a man and dog called 'Tobias'. Portrait of a man and his horse. Portrait of a man and his sons in camp. Portrait of a man and horse. Portrait of a man and woman. The man's face is obscured by a piece of paper pasted over it.[Gelatin silver print, 74x99mm]. Portrait of a man convalescing in hospital. Portrait of a man in costume. Portrait of a man in riding dress. Portrait of a man on a horse. Probably in Wales. Portrait of a man on horseback. Portrait of a man on horseback. Portrait of a man reclining in a chair and reading a book. Portrait of a man sitting at a table playing a flute, a horn is also placed on the table. Possibly Colonel William James Pratt Barlow, Indian Staff Corps, of the late 63rd Bengal Native Infantry. Portrait of a man sitting beside a dead cheetah. Portrait of a man sitting by the Ganges. Portrait of a man sitting in a rattan chair. Portrait of a man sitting on a bench. Portrait of a man standing on a station platform. Portrait of a mounted trooper.[Albumen print, 299x366mm]. Portrait of a mounted trooper.[Albumen print, 301x379mm]. Portrait of an army officer holding a dog. Portrait of an army officer on horseback. Identity untraced.[Printing-out paper, 150x201mm]. Portrait of an Indian boy in military uniform, on horseback. Portrait of an Indian man, presumably a servant of G.C. Hogg. Portrait of an Indian man sitting with a book. Portrait of an Indian man sitting with carpentry tools. Portrait of an Indian servant(?) standing in a garden. Portrait of an Indian soldier. Portrait of an Indian soldier outside a tent.. Portrait of an Indian trooper in uniform. Portrait of an officer. Portrait of an officer holding a dog outside a train coach. Portrait of an unidentified European man on horseback.[Printing-out paper, 202x152mm]. Portrait of an unidentified man and his horse. Portrait of an unidentified man in costume. Portrait of army officers and their families, named as: 'Capt Gwatkin, D.A.Q.M.G.; Lt Billings, Gar. Q.M.; Capt Hogge, D.A.A.G.; Brig Genl Purvis, Comd. Presy. Dn.; Maj Macpherson, Dy. Judge Advocate; Revd T. Warneford, Gar. Chaplain; Lt Watkins, RA; Mrs Billings; Miss Warneford; Mrs Gwatkin; Cockles [girl] & Mrs Hogge; Mrs Purvis; Mrs Macpherson; Mrs Watkins'. Portrait of Arthur Jacob, son of Sir Samuel Swinton Jacob. Portrait of Arthur Jacob sitting on an elephant. Portrait of a seated man. Portrait of a servant boy standing on the deck of a houseboat. Portrait of a Shan man, with an Indian standing behind.[Albumen print, 69x115mm]. Portrait of a signatory. Portrait of a Stotherd's wife holding a puppy. Portrait of a Stotherd's wife on horseback. Portrait of a trooper, standing beside his mount.[Albumen print, 381x309mm]. Portrait of a trooper standing beside his mount.[Albumen print, 363x311mm]. Portrait of attendants, with Ta Lama seated at right, in background. Portrait of a uniformed Indian policeman.[Gelatin silver print, 83 X 110 mm]. Portrait of a uniformed man on a horse holding a lance. Portrait of a woman and baby. Portrait of a woman and dog in a carriage. Portrait of a woman at the wayside. Portrait of a woman holding a baby. Portrait of a woman holding a camera. Portrait of a woman holding a young child. Portrait of a woman in a garden. Portrait of a woman on horseback. Portrait of a woman reading in a drawing room. Portrait of a woman saffron picker with her child. Portrait of a woman sitting on a railway trolley under a large sun shade. Portrait of a woman sitting under a parasol on a railway trolley. This photograph is published on p.31 of M. Satow & R. Desmond's Railways of the Raj, where the woman is identified as Mrs Helen Westropp, wife of a Bombay Civil Servant. Portrait of a woman standing against a palace wall. Portrait of a woman standing by a cairn. Portrait of a young European girl. Portrait of a young European girl and Indian servant. Taken by Walter Nightingale? Portrait of a young girl. Portrait of a young Indian prince. Son of the Maharaja? Portrait of a young man, son/nephew of George Crawford Hogg? Portrait of Bailey at work in his study. Poor quality print. Portrait of Bailey with numerous dogs. Portrait of Barnes, in military uniform, seated on his horse Tommy, in the garden of Government House, Maymyo. Photograph unsigned, but probably by Watts & Skeen. Portrait of Battye, with syce and two horses. Portrait of Bell seated at the door of his tent. Portrait of Bengal Engineers officers, in civilian dress, grouped around a small table. Of the 15 figures a typescript key identifies seven individuals: Innes, Taylor, Hutchinson, Maclagan, Sim, George Newmarch, Westmorland. Portrait of Bradshaw sitting in a two-wheeled carriage drawn by two horses in front of a thatched bungalow. Portrait of British and Indian officers and men, under the command of Captain C.J. Godby. Print torn across the right corner. Better print at Photo 132 (34). Portrait of C.E. Stotherd in his horse and carriage outside his bungalow. His servant, Lal Singh, is standing on the right. Portrait of camels and sowars. Portrait of Captain Souter standing in a garden. Portrait of Capt J.A. Keogh. Portrait of Charles Stotherd's brother in a wheelchair. Portrait of Charles Stotherd's sister on horseback. Portrait of Charles Stotherd's sisters on horseback. Portrait of Charles Stotherd and a dog. Portrait of Charles Stotherd in uniform. Portrait of Charles Stotherd on horseback. Portrait of Charles Stotherd with dogs. Portrait of Charles Stotherd with his dog. The epaulettes on his uniform bear the letters 'BBCI', representing the Bombay, Baroda & Central India Railway Regiment. Portrait of Colonel J.L.T. Jones and his Indian staff. Portrait of Colonel J.L.T. Jones and his Indian staff. Portrait of Colonel J.L.T. Jones and his Indian staff. Portrait of Colonel J.L.T. Jones sitting at his desk. Portrait of Colonel J.L.T. Jones sitting in his tandem. Portrait of Colonel Robert Patton on horseback. He was the Brigade Major of the 3rd European Regiment, Agra. Small faded print. Portrait of Diamond Hardinge on a horse. Portrait of Diamond Hardinge on horseback with two others. Portrait of Dolut Singh and Pertab Singh on horseback. Portrait of Douglas McArthur Hogg, aged about 13. Portrait of Douglas McArthur Hogg. Although the caption gives him as aged 1, the child in the photograph looks older, more probably aged 2. Portrait of Dr Charles Macpherson (1870-1927), Organist of St Paul's Cathedral 1916-27, in Amen Corner, St Paul's Cathedral, possibly at the start of the tour of India and Ceylon which he made in 1925 as Examiner for the Associated Board of the Royal Academy of Music and the Royal College of Music. The portrait forms the frontispiece of a diary describing the tour. Portrait of eight officers (unnamed), including J.H.E. Reid standing in the centre. Brigadier-General H.B. McCall was in command of British Services in Bangalore District. The Assistant Adjutant-General for the region was Colonel A.B. Fenton of the Indian Staff Corps and the Deputy A.A.G. was Captain H.L. Rosher of the Dorset Regiment, both of whom are probably in this group. A further view of the same group is at Print 34. Portrait of European group (four men, two women and a child) in camp. The pencilled location is faint and the above may be a mistranscription. The only two identified figures in the group are Colonel Frederick Jervis Home and hid wife Constance Home. Portrait of European officers. Portrait of family, seated in front of wall. Portrait of figures grouped around two tables. The sitters are identified as follows in the key beneath the print: Hutchinson, Gulliver, Maclagan, Dyas, Home, Innes VC, Forbes, Pollard, Sim, Taylor, Becher, Padday, Newmarch, Crofton. Portrait of figures in preceding print, on horseback. Portrait of five Agra doctors. Sitting in the front row are, from left, Dr George Playfair, Murray and Dr Alexander Christison. Dr Whittal is standing on the right, Dr Walker on the left. Small faded print. Portrait of five boys. Portrait of five Indian officers of the 28th Bombay Pioneers, named as: 'Subedar H[?] T[?]; Jemadar S[?]; Subedar Major Ram Singh Sirdar Bahadur; Sub. Mahomed Khan [and] Subedar Shaik Mahomed'. Portrait of five nurses. Portrait of five unidentified European men. Portrait of five women: Misses Julia and Georgina Showers (see Print 337), Miss Marian Murray, Miss Frances Sievwright (see Print 341) and possibly the bride, Miss Ellen Sievwright (centre). Small faded print. Portrait of Forbes' dog. Portrait of four European officers grouped round a cannon. Portrait of four figures grouped around a table in the open air. The two identified figures are Joseph Henry Dyas (1824-1868) and James Crofton. See Mss Eur D1019/5 (349), for another copy of this photograph, dated 1858, where the two figures on the left are identified as civil engineers Smithe and Kelly.[Albumen print]. Portrait of four of Haughton's shikaris.[Silver printing-out paper, 98x120mm]. Portrait of four polo players of the 9th (Queen's Royal) Lancers. Named as: 'Major Gough, Mr Jenner, Mr Cameron [and] Mr Colvin'. Portrait of four polo players of the King's Own Scottish Borderers. Named as: 'Mr Reid, Mr Mayne, Mr Taylor [and] Mr Gordon'. Portrait of four puppies. Portrait of G.C. Hogg standing beside a pony trap. Portrait of General Ali Pasha, mounted on horseback. Print in poorish condition, with overall spotting.[Albumen print, 380x309mm]. Portrait of General Ethem Pasha, mounted on horseback on the parade ground. Print in poorish condition, with overall spotting.[Albumen print, 364x310mm]. Portrait of General Hunter sitting beside a dead tiger. Portrait of General Liu seated behind a table covered with an embroidered cloth, surrounded by officials, and with an umbrella of state held over him. The incident if briefly described in G.E. Mitton, Scott of the Shan Hills (London, 1936), p.262: 'On New Year's Day the General and his staff came over to pay a New Year's call, and were received by the fourteen European officers of the Commission and escort. A Chinese soldier fired at another intending to kill him, but hit the wrong man, who died. General Liu tried the offender. He started at two o'clock and ten minutes later three guns was the signal that the man's head had been cut off. The murderer was little more than a boy'. The execution is also described in H.B. Walker, Report of the Intelligence Officer on the Burma-China Boundary Commission...1898-99 (Rangoon, 1899). Portrait of George Crawford Hogg, in uniform. Portrait of Godfrey inspecting fishing tackle. Portrait of group of pupils in costume for performance.[265x214mm]. Portrait of Hakki Bey, seated on horseback.[Albumen print, 371x310mm]. Portrait of Halifax and his wife in a car. Portrait of Henrietta Hogg. Portrait of Henrietta Hogg and her nephew? Portrait of Henry Robert Winship striking a dramatic pose. Portrait of Hpo Goung, photographed in front of the carved wood facade of a house. He stands in uniform at the rear of the group.[Printing-out paper, 136x106mm]. Portrait of Ian Meredith with a dog sitting on a table. Portrait of Indian officers under the command of Major Reilly. Portrait of Indian servants. Portrait of J.H.E. Reid with a horse. Portrait of J.W. Watson with his pony. Portrait of James George Scott, Roger T. Darwin and Colonel Francis John Pink, standing in front of a tent at Kengtung. Portrait of Jamnu, squatting on the verandah of a bungalow, probably in New Delhi. Original and duplicate negatives only, no print. Portrait of King Thibaw, Queen Supyalat and her sister Supragee, seated in front of a painted backdrop in the Palace. Compare the similar portrait at Photo 312 (73), which is described as being from a negative found in the Palace and probably taken by the French court photographer employed by Thibaw. This portrait was evidently taken on the same occasion. Portrait of Lady Goschen painting under an umbrella. A later annotation reads: 'HE Lady Goschen painting one of her many excellent water colours'. Portrait of Lady Holland and 'M.O.S.' standing outside a bungalow. Portrait of Lieut-Colonel James S. Forbes and W.E. Crum, on horseback. Portrait of Lieutenant George Austen Paterson Younghusband (1831-1858), 13th Bombay Native Infantry 1849-58, killed during the Indian Mutiny. He was the uncle of Sir Francis Younghusband.[Albumen print, 55x75mm]. Portrait of Lieutent-Colonel Hakki Bey, mounted on horseback. Print in poorish condition, with overall spotting.[Albumen print, 381x305mm]. Portrait of Lord Hardinge and his ADC's (?) on horseback. Portrait of Ludlow, an unidentified European and a Tibetan seated on the steps in front of a house, with various heads and dead birds arranged around them. Portrait of Macmillan's wife and daughters standing beneath a tree, at Peradeniya? This photograph is reproduced on p286 of his book A handbook of tropical gardening and planting with special reference to Ceylon. Original glass negative (damaged), no print. Portrait of Major Balding outside a tent. Portrait of Major Tweedie standing beside an elephant with servants and four sepoys. Print signed below: 'Yours ..[?].. M. Tweedie'. Portrait of Mangal Singh, Maharaja of Alwar, seated on horseback, with attendant holding flywhisk standing beside him.[Albumen print, 135x97mm]. Portrait of man standing beside a car. Portrait of Margaret Ramsden. Portrait of Margaret Ramsden and dog. Portrait of Margaret Ramsden at a reservoir. Portrait of Margaret Ramsden sitting by a river in a forest. Portrait of Margaret Stotherd and a dog. Portrait of Margaret Stotherd and another woman sitting in the garden. Portrait of Margaret Stotherd and two dogs. Portrait of Margaret Stotherd in the grounds of the hotel. Portrait of Margaret Stotherd with a dog. Portrait of Margaret Stotherd with dogs. Portrait of Margaret Stotherd with two dogs. Portrait of Mary Curzon sitting on a rock. Portrait of Mary Ramsden and dog. Portrait of men standing beside a car. Caption on reverse reads: 'Ross Hurst and self just off to Afghanistan', probably for the Indo-Afghan Mission (see Print 78). Portrait of men with a small elephant. Portrait of Miss Dumergue, daughter of John Shore Dumergue, the Civil and Sessions Judge at Aligarh. An unidentified European man is standing on the left (J.S. Dumergue?). Small faded print. Portrait of Moung Peng, a grandson of King Mindon Min, here seen seated in a royal carriage. After the British occupation of Upper Burma, he became part of a conspiracy to regain power and oust the British. He was later sent to study under Dr Marks at Rangoon. At the time of the taking of this photograph he was aged thirteen. Portrait of mounted standard bearer, flanked by two guards. Print in poorish condition, with overall spotting.[Albumen print, 308x374mm]. Portrait of mounted trooper, with bugle raised to lips. Print in poorish condition, with overall spotting.[Albumen print, 371x304mm]. Portrait of Mrs Martindale on horseback, probably taken at Dharmshala. She was presumably the wife of Cecil Sydney deButts Martindale, Indian Army. Portrait of Mrs Nightingale and another woman pretending to be asleep. Portrait of Mrs Nightingale sitting in her carriage in camp. Portrait of Mrs Ross on a pony, with syces in attendance. An unidentified European man is standing on the right (also in Print 300). Small faded print. Portrait of Mrs Storrs-Fox and another woman. Portrait of Mrs Storrs-Fox and another woman above the Sind Valley. Portrait of Mrs Storrs-Fox and another woman on a pony. Portrait of Mrs Storrs-Fox and another woman picnicking. Portrait of Mrs Storrs-Fox and another woman sitting on the canal bank. Portrait of Mrs Storrs-Fox and dog standing in the garden. Portrait of Mrs Storrs-Fox in a 'lighthouse' fancy dress costume. Portrait of Mrs Storrs-Fox on the beach. Portrait of Mrs Storrs-Fox sitting on a step. Portrait of Mrs Storrs-Fox standing on a snow-covered mountain. Portrait of Mrs Storrs-Fox standing outside the hotel entrance. Portrait of Mrs Storrs-Fox with another woman and Friar Wilkins. Portrait of Mrs Storrs-Fox with Indian servants. Typescript notes read: 'Taken from the rocks where we had lunch. Reshoo has a very smart blue cloth overcoat nowadays!'. Portrait of Mrs Storrs-Fox with two children. Portrait of Naim Bey, seated on horseback.[Albumen print, 348x309mm]. Portrait of officer, mounted on horseback on the parade ground. Print in poorish condition, with overall spotting.[Albumen print, 300x373mm]. Portrait of officers grouped in front of tent at Bagdun. The sitters are identified by their initials only: C.S.I. [C. St. M. Ingham], O.W. [O. de l'E. Winter], J.W. H. [J.W. Hope], P.H.E. [P.H. Enthoven], A.R. K. [Arthur Rice Knox]. Two other sitters are identified merely as 'Maurice' and 'Old Man'. Faded print.[156x105mm]. Portrait of one of Hardinge's sons? Portrait of P.J. Corbett seated on a pony. Portrait of Pertab Singh, the Maharaja of Idar, and his five children. Portrait of players on horseback. Portrait of pony with syce. H.F. Guinness was an engineer on the Mu Valley State Railway.[Albumen print, 116x90mm]. Portrait of potter standing with examples of Hala pottery work. Photograph taken by Cousens' photographic assistant: see note at print 1449. Portrait of R.B. Holmes' sister in the garden of his studio. Portrait of R.B. Holmes' wife in the garden of his studio. Portrait of R.B. Holmes standing at the frontier of India and Afghanistan. Portrait of Ramsden's wife and dog. Portrait of Red Gown, with C. Belli Bivar (in jockey's kit) standing beside the horse, and R.D. Perceval standing behind it. Portrait of Rev. E.A. Storrs-Fox sitting on a step. Portrait of Rev. Joseph Passmore (1865-1936), missionary, Principal of Wesley College, Colombo and Secretary of the Christian Literature Society, Madras 1908-26, with his grand-daughter Joan Painter. Original photograph dated 1926.[Modern copy print, 215x275mm]. Portrait of Rev. R.A. and Mrs Mary Ellis in the garden of the Cedars. Portrait of servant and dog. Portrait of Sir Geoffrey Ramsden in formal dress. Portrait of Sir Geoffrey Ramsden with a large fish (mahseer?). Portrait of Sir Horatio George Walpole seated at his desk in the India Office. Walpole (1843-1923), India Office 1862-1907, was Assistant Under Secretary of State for India 1883-1907. A glass negative of a similar portrait is also held in the collection.[Silver printing-out paper, 121x95mm]. Portrait of Sir Pierre Louis Napoleon Cavagnari and Kohat officials. Cavagnari was Assistant Commissioner in charge of Kohat District from 1866 to 1877. Muhammad Hyat Khan is sitting on Cavagnari's left (see also Print 12). Portrait of Sir Pierre Louis Napoleon Cavagnari and Kohat officials. Cavagnari was Assistant Commissioner in charge of Kohat District from 1866 to 1877. Muhammad Hyat Khan is sitting on Cavagnari's left (see also Print 153). Portrait of Sir R. Holland and Lady Holland standing outside a bungalow. Portrait of six Europeans and eight Indians on the steps of the clubhouse? J.H.E. Reid is sitting in the centre of the group. Portrait of six men standing on the bridge. Named as follows: 'E. Rose, X.E.N.; W.A. Johns, E.N.C.; C.W. Hodson, D.R.C.; B. Chatterjee, Contr.; C.M. Gregory, Contr.; Field, A.E.N.'. Portrait of six servanst lined up in the garden. Portrait of Stotherd's dog. Portrait of Suleyman Pasha, seated on horseback.[Albumen print, 377x305mm]. Portrait of Sultan Husain on horseback. Portrait of T.G. Glover's groom and family. Portrait of Taylor and Murphy standing at the door of the glass house of the Negative Section. Note photographer's reflection in the window. Portrait of team. Portrait of Thakur Bhorji of Chowkri. Portrait of Thakur Bhorji of Chowkri. Portrait of Thakur Rupsingh of Naila. Portrait of the 13th Dalai Lama, seated on an ornately carved wooden throne. Reproduced in Sir Charles Bell, 'Portrait of the Dalai Lama' (London, 1946), p. 372.[Gelatin silver print, 78x138mm]. Portrait of the Ambassador to Kabul and six officials. Original caption reads: 'Ata Mahomad Khan, Khawani'. No 1391 in the Bourne & Shepherd catalogue (although this is probably a Charles Shepherd or Shepherd & Robertson photograph). Duplicate at Photo 793 (45). Portrait of the bride and groom. Portrait of the captian standing under the sign, 'Shwebo'. Portrait of the cast in costume: 'Capt Browne, 12th B.C.; Col Fletcher, 6th B.C.; W.H. Nightingale, P.W.D.; Capt Rawlinson, A.D.C.; J. Tullock, Post[?]; Mrs Norman; Mrs Lidderdale; Miss Keighley; G.K. Lyon, B.C.S.; Miss Judge'. Portrait of the cast of an amateur production. Portrait of the chief and heir standing in front of the fort. Portrait of the Commandant, in Cossack uniform, standing beside Reginald Teague-Jones, probably photographed on the same occasion as print 18.[Gelatin silver print, 59x105mm]. Portrait of the Commander-in-Chief of India, Sir William Mansfield, his wife and staff. Duplicate of Photo 24(40) where the sitters are named. Portrait of the couple in front of Government House, Nagpur.[136x218mm]. Portrait of the daughter in the unidentified family associated with this collection. The print is taped next to the address: 'The Bungalow, New Dock, Bombay, India'. Portrait of the family and servants. Portrait of the father in the unidentified family associated with this collection. The print is taped next to the address: 'The Bungalow, New Dock, Bombay, India'. Portrait of the five year old Maharaja Chamrajendra Wadiyar (1863-1898) seated on (and dwarfed by) a ceremonial throne.[Albumen print, 120x167mm]. Portrait of the four men, mounted on ponies and holding polo sticks. Portrait of the Governor and Lady Sykes with the Chief of Aundh. Portrait of the Governor of Bihar sitting at his desk. Portrait of the Governor of Bombay, Baron Lamington, and staff. He sits in the foreground, his staff and wife (?) standing behind. Standing on the left is Lieut G.W. Lucas, Adjutant of the Governor's Bodyguard. Next to him is the Private Secretary, J.H. Du Boulay, and third from left is Lieut-Colonel James S. Forbes. On the right is the Indian ADC, Risaldar Shaikh Abdul Hamid Bahadur (35th Scinde Horse), and third from right is the ADC, Captain J.G. Greig (107th Pioneers). The others are unidentified but probably include three from the following: Military Secretary, Lieut-Colonel R. Owen; ADC Lieut E.H. Bayford; ADC Capt H. Meynell; Extra ADC Captain the Hon'ble G. Foljambe; Medical Officer, Major M.T. Yarr; and Commander of the Governor's Bodyguard, Captain J.H. Crawford. Portrait of the Governor of Sind sitting at his desk. Portrait of the Hammond family. Portrait of the Hammond family and another unidentified man. Portrait of the Hoggs standing in a grove at Ahmadnagar. Portrait of the hotel proprieter. Portrait of the Indian staff of R.B. Holmes & Co. Portrait of the Keng Tung Sawbwa in ceremonial robes, seated on a throne, with an attendant seated in front. A pencilled note on the reverse identified the dog in the foreground as Lieutenant Harington's. A faded print.[Printing-out paper, 108x144mm]. Portrait of the local chief of Dundlodh on horseback outside his palace. Portrait of the local sirdar and a boy. Portrait of the Maharaja and Sir Frederick Sykes. Portrait of the man seen in print 156, with a youth and a young boy on either side of him.[Gelatin silver print, 142x93mm]. Portrait of the Murrays with their two youngest children. In order to keep the children still for the exposure, John Murray is steadying the head of Carrie with his left hand, and Marianne Murray is supporting Jack's head with both hands. Portrait of the Myoza and his wife, seated in front of an embroidered screen.[Printing-out paper, 110x154mm]. Portrait of the Ngwegonhmu seated beside a river, probably the Salween. Hsen Yawt is a district of the Southern Shan State of Kengtung, straddling both sides of the Salween.[Albumen print, 117x180mm]. Portrait of the priest sitting cross-legged on a mat. Portrait of the raja standing with officials. None of the men are identified though in 1890 Kula Chandra Singh proclaimed himself Maharaja after the abdication of his elder brother, Sur Chandra Singh. In 1891, after the murder of British officials, Kula Chandra Singh was deported to the Andamans and the young Chura Chand was placed on the gadi. If this photograph is accurataly dated then this probably represents Kula Chandra Singh and his officials. Portrait of the Regent of Garut,with attendants seated on the floor behind.[Albumen print, 235x172mm]. Portrait of the Rev. E.A. Storrs-Fox. Portrait of the Rev. E.A. Storrs-Fox sitting in a chair. Portrait of the Rev and Mrs Storrs-Fox at a picnic, near Sialkot? Portrait of the Rev and Mrs Storrs-Fox at a picnic. Portrait of the Rev and Mrs Storrs-Fox standing near the canal. Portrait of the Rev E.A. Storrs-Fox and a woman picnicking. Portrait of the Rev E.A. Storrs-Fox on horseback. Portrait of the Rev Storrs-Fox sitting on rocks by the Sind. Portrait of the Rev Storrs-Fox sitting on the beach. Portrait of the Saga Myosa, Sow Sein Bu (b. c. 1857), ruled from 1885, seated on the ground on a rug, with attendants holding umbrellas over him Portrait of the Sawbwa of Mong Pawn, his young heir (seated on chair beside him) and other members of the family. Posed in front of palace, with retainers holding umbrellas over the group. Portrait of the Sawbwa seated outside a tent and flanked by two attendants, one of whom holds an opium pipe. Group of tribesmen in background. Presumably inside Burma, although the Sawba wears Chinese dress. Portrait of the sleeping Thakur Rupsingh of Naila. Portrait of the Stotherd's with Alice Pryce. Portrait of the three figures seated side by side on a couch. This print is a copy of the photograph made from a negative found in the Palace at Mandalay after its seizure by the British expeditionary force in 1885: for another copy of the same image, see Photo 312 (73).[Oval image, 60x46mm]. Portrait of the three ladies, similar to print 376, but with hats removed. Portrait of the three men, in uniform, taken in a garden. Portrait of the three men, seated, facing the camera.[Gelatin silver print, 199x153mm]. Portrait of the three women and attendants, probably photographed in front of the haw or palace at Keng Tung. A pencilled note on the reverse identified the sitters, with the following additional information on the woman on the right: 'Wife of the Tsawbwa of Keng Hung and sister of the Keng Tung Sawbwa. Separated from her husband.' A faded print.[Printing-out paper, 155x109mm]. Portrait of the two men, kneeling on a rug in the open air. The caption is also written in Burmese. A Myook was a township officer under the British administration.[Albumen print, 151x98mm]. Portrait of the two men sitting on chairs. Portrait of the two men standing beside their mules. 'The trader carries a Russian rifle with a magazine holding five cartridges. The bolt is wrapped carefully in cloth. His food, etc., is inside his saddle-bags of yak-hide. On the servant's saddle is a lynx skin. Both ride mules; the goods are ahead on yaks. They are on their way from Calcutta to 'The Plain of the Three Brothers'. For the nature of the merchandise, see Diary of 30/6/34.' Portrait of the two younger girls performing a dance. See note at print 180.[Gelatin silver print, 143x94mm]. Portrait of the Viceroy, Earl of Minto, sitting surrounded by his staff, including J.R. Dunlop Smith standing on his left. The following individuals are named: 'Capt Harker; Col Crooke[-Lawless], 'The Kid'; Lord Francis Scott, Grenadier Guards; Capt Charrington; Capt Hyla Holden; Capt Jack Atkinson; Col Victor Brooke; Capt Muir, XV Sikhs; Capt Mackenzie; Capt Archie Tod, Rifle Brigade; Capt Rudolf Jelf; Capt Evelyn Gibbs, The Coldstream'. Portrait of the Viceroy's Council, grouped round a table. The sitters are: (secretaries, standing behind, left to right): Edward Harbourd Lushington, Financial Secretary; Colonel (later Sir) Henry Norman, Military Secretary; Colonel (later Sir) Henry Durand, Foreign Secretary; Mr (later Sir) Edward Bayley, Home Secretary; Colonel (later Sir) Richard Strachey, Public Works Secretary. (Members of Council, seated, left to right): George Noble Taylor; Sir Charles Trevelyan; Sir Hugh Henry Rose (Lord Strathnairn); Sir John Lawrence (Lord Lawrence); Sir Robert Napier (Lord Napier of Magdala); Mr (later Sir) Henry James Sumner Maine; Mr (later Sir) Willaim Grey.For other copies of this print see: Photo 25 (41), Photo 42 (192), Photo 797 (77), Mss Eur G38/2 (LXIIIb). Photo 793 (56) shows a similarly posed group, evidently taken on the same occasion. Dates between 1864 and 1866 are given on various prints. Photo 797 (77) gives the location as Simla.[Albumen print, 230x157mm]. Portrait of the Viceroy with the players including ADC's Captains Atkinson and Tod. The original caption describes the trophy as the 'Durand Cup' but that was awarded to the winners of the annual football tournament. The trophy in this photograph was presented by Lord William Beresford. Portrait of the wife and daughter of Colonel Sir Julius Richard Glyn of the 3rd Bn Rifle Brigade, with an ayah holding the child. Print marred by poor processing. Portrait of the woman also seen in print 115.[Gelatin silver print, 78x98 mm]. Portrait of Thomas Glover with one of his children. Portrait of three bandsmen, posed with their drums. A tightly curled print.[Printing-out paper, 154x110mm]. Portrait of three British officers. Portrait of three brothers standing in a row. Portrait of three Burmese office staff, seated on carpets. Duplicate at Photo 92/8 (18).[Albumen print, 182x117mm]. Portrait of three European woman and a young child. Portrait of three gardeners. Portrait of three Indian men on the banks of a river. Portrait of three mounted troopers.[Albumen print, 368x309mm]. Portrait of three mounted troopers.[Albumen print, 372x306mm]. Portrait of three mounted troopers.[Albumen print, 379x310mm]. Portrait of three mounted troopers on the parade ground. Print in very poor condition, with overall spotting.[Albumen print, 368x307mm]. Portrait of three officials seated on rug on verandah of a house at Kargilik (Ch. Yecheng). Portrait of three pupils seated on the doorstep of Ludlow's bungalow, two with books on their laps. Portrait of three seated figures, with three attendants standing behind. They are photographed in front of the house seen in several photographs in Photo 305 (71-72 and others), probably David Macdonald's residence at Yatung, where he was trade agent. Portrait of three Tibetan men by the roadside. Portrait of three unidentified Europeans.[Albumen print, 162x115mm]. Portrait of three women including Ursula Money. Portrait of Tochi Scouts' footballers. Portrait of trooper on horseback, posed with lance raised as if about to strike.[Albumen print, 310x372mm]. Portrait of trooper on horseback.[Albumen print, 301x373mm]. Portrait of Tsarong Shap�, seated on a wooden couch and showing furnishing and decoration of room.[Gelatin silver print, 159x107mm]. Portrait of Tsarong Shap� and his wife, seated behind tables on which stand various objects associated with the festivities. 'In the evening we had the privilege of being invited by Tsarong to the third of the main celebrations of the New Year - the family celebration which takes place in the altar room of a private house...The master of the house takes his seat in the best room which contains the family altars before which are now set out the traditional New Year offerings: barley meal, butter ornaments, rice, fried cakes, ram's head fashioned in butter, and pots of green sprouting barley shoots. The master's seat is a canopied divan which varies in height with the rank and dignity of the owner. Beside him on his left sit his wife and children all in their best clothes. If he is of high rank the master will be wearing a robe of yellow silk patterned with Imperial five-clawed dragons, and a round flat hat of red silk heavily bordered with fur and topped by an ornament of gold turquoise and other semi-precious stones surmounted by an amethyst button - a survival of the Chinese buttons of rank. His wife will be wearing over her skirt the striped apron worn by all married women; a brocade blouse with a scarf of plum coloured silk across her breast and one of rainbow colours round her shoulders. Her head dress will be heavy with great corals and turpuoises and hung with closely woven streamers of seed pearls; more gold and turquoise ornaments set with precious stones hang down from her shoulders, and on her breast is a large star-shaped charm box of gold studded with turquoise and diamonds. Other relations [see print 376] who may be present sit on cushions along one side of the room on the left of the family.' There follows a detailed description of the tea drinking and other offerings made at the ceremony. (Lhasa Mission Diary, 14 February 1937).[Gelatin silver print, 153x105mm]. Portrait of Tsen-dron Ku-sho on horseback, the bridle held by a woman. Portrait of two boys. Portrait of two Burmese (?) men, probably servants. Portrait of two couples at reception, the bride and groom, a bridesmaid and (probably) the best man. Possibly taken on the same occasion as print 54. Portrait of two dogs. Portrait of two European boys with a dog. Portrait of two European women. Portrait of two European women. Portrait of two European women and a child. Portrait of two European women at a picnic. Portrait of two European women with bicycles. Portrait of two men sitting by a table outside tents. Portrait of two men sitting on a rock. Portrait of two native officers in camp. Portrait of two Nepalese soldiers: 'The Nepalese infantry are armed with muzzle-loading rifles (made in the country, on the Enfield pattern), bayonets, swords, and kookries. The men pictured in the photograph belong toa crack regiment, somewhat corresponding to our English Foot-guards, on service with Maharaja Sir Jung Bahadur as his escort.'[Albumen print, 97x136mm]. Portrait of two officers. Portrait of two soldiers. Portrait of two stalkers, posed with a pair of markhor horns. Reproduced in Earl of Ronaldshay, 'Sport and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 219, there titled, 'Ramzan and Shah Beg.' Portrait of two woman, including Mrs Storrs-Fox, on horseback. Portrait of two women and a baby. Anne Phillipps (1839-1859), wife of the magistrate and collector, Alfred Lisle March Phillipps, died 12 days after Mary's birth. Portrait of two women sitting outside a bungalow. Portrait of unidentified European officers. Portrait of W.B. Martin in old age, seated in a chair. Portrait of Watson standing in the garden of the consulate. Portrait of Wigram Money and his two sons, Elliott Alexander (b.1843) who joined the Bengal Cavalry in 1860, and Wigram. Portrait of Younghusband posed in front of a lifeboat on board the 'Berengeria' bound for New York.[Gelatin silver print, 158x107mm]. Portrait on the lawn in front of a house. Portrait probably taken at Peterhof, Simla. Compare with the exterior view of Print 71. Lord William Beresford, ADC, stands on the left behind his dog. Henry Primrose, Private Secretary, sits on the left. Portrait probably taken at Peterhof, Simla. Compare with the interior view of Print 72. Lord William Beresford sits second from the right, Henry Primrose on the left. Portrait shows the parents with their children. Portraits include Colonel J.L.T. Jones in his pony trap and a group at Mahabaleshwar including Major George Herbert Stewart (IMS). Portrait taken at Camp VI, with Bruce seated and the three porters standing behind him.[Photogravure, 253x203mm]. Portrait taken at Camp VI, with Norton and Somervell seated and the three porters standing behind.[Photogravure, 254x203mm]. Portrait taken in Britain. Portrait taken on the occasion of the presentation of new colours to the regiment. Sitters include: Back Row (left to right) - Capt J.A. Keogh, Lieut H. Hullock, Capt P.B. Janson, Capt H.E. Cubitt-Smith, 'Bill Dean' and 'Stinger'. Middle Row - Capt E.P. Rich, Capt R. Lawrenson, Capt L.C. Mien, Capt E.G. Perry, 'Hindy', Capt A.G. Scotland, Capt F.M. Moore, Capt G.M.B. Burt, Dawson (ADC to C-in-C). Front Row - Capt P.T. Clarke, 'Morgan (BM)', Stanley P. Williams, Lieut-Col R.S. Abbott, Lieut-Col H.M. Burrows, Field-Marshall Sir William Birdwood, Major C.N. Buist, Bishop of Lahore the Right Reverend H.B. Durrant, Brigadier Ballantyne, Capt R.M.M. Lockhart, (unidentified ADC). Portrait taken outside the Orient Club. Portrait taken while the group is taking tea. The seated figures in the group are, from left to right: Sir Louis Dane, Lady Edith Dane, Lady Frances Young, Sir William Mackworth Young. Photograph probably taken on the same visit as seen in prints 104 and 107. Portrait with Lady Jacob sitting in a type of rickshaw. Posed European group, with identifications supplied as follows: Mrs Ferris, Mrs W. Paske, Mrs Ferris (Misse), Mrs Forbes, Mrs B. Saunders, Dr Lawrence (Sir Trevor Lawrence), Major Lake, Miss Cautley (Mrs Olpherts), Miss Parsons (governess of the Arnolds), Captain Hutchinson R.E., Mr B. Saunders, Mr Forbes, Capt E. Paske.[Albumen print, 235x192mm]. Posed group, in costume for unspecified amateur theatrical production. Print unsigned, but probably Bourne & Shepherd. Posed group, with sheep grazing in background, hills beyond. Posed group. The print has been torn in half before being pasted down in the album. Photographer's signature not present (presumably on missing half) but probably by Burke. Posed group in costume. This appears to be a later print. Posed group in the garden of Viceregal Lodge. Lady Dufferin stands beside a mule held by a uniformed servant, her daughter Lady Helen Blackwood stands behind her pet monkey. She is partly obscured by the monkey's wooden 'house' on a stand. Posed group of beaters. Posed group of cricket team, with some identifications supplied. Posed group of European men and women. No identifications supplied.[Albumen print, 264x189mm]. Posed group of Europeans, the ladies in a row at the back seated on camels, two of the men posed astride small donkeys. Posed group of Europeans. Posed group of five armed men. Posed group of five figures, seated on rugs. Posed group of five figures. Good study of clothes. Posed group of guests. The following sitters are identified: J. Macdonald, Parker, Macdonald, Lheding, Trering, Kenchung, Rimpoche, Jongpen. Frederick and Irma Bailey stand in the centre of the back row. Posed group of Indian and Afridi soldiers. The Afridi figure in the centre is posed in the act of aiming his jezail. No. 86 in Burke catalogue of Afghan War views. Posed group of Indian men and youths with camels. Posed group of shikaris. Posed group of six figures. Posed group of students, with Ludlow seated second from left. Posed group of the Spalding family. Posed group of three men and three women. Hugh Lewin Monk is seated on the left, with his wife behind him.[154x111mm]. Posed group portrait, with identifications supplied as follows: J. de V. Hazard; Maj R.W.J. Hingston; J.H. Somervell; Bentley Beetham; E.O. Shebbeare; Capt J.G. Bruce; Lieut-Col E.F. Norton; Capt J.B.L. Noel; N.E. Odell. For an original photographic print of this group, with other photographs from the expedition, see Mss Eur F197/655 (20-155).[Photogravure, 252x203mm]. Posed group with beaters and dead peafowl. Posed group with railway personnel. Possibly a brother of Colonel J.L.T. Jones and his family. Possibly a Gill photograph; similar in style to other prints by him in this album. Two of the female sitters have portraits at Prints 79-80 and two others appear in Print 157. Possibly a Gill photograph. A manuscript list accompanying the album names the individuals as follows: '[From left] Drummond, Wise, Baigrie, Miss Ashburner, Probyn, Sandford, James, Rogirs, Keir, Campbell Senr, Arbuthnot, Birdwood, Ashburner, Mrs Birdwood, Lord, Charles, Campbell Junr, Fago[?}, Pollen'. Possibly a Gill photograph. Sitters named in a manuscript list accompanying the album: 'Birdwood, Rogirs, Drummond, Mrs Birdwood, James, Campbell, Miss Ashburner, Baigrie, Arbuthnot'. Possibly by Phillips. Duplicate at Print 10. Individuals named as follows: 'Mrs Ralston & [baby] Nina; Mrs Campbell; E.V. Elwes, RA; Mrs Maxwell & Tiny; J.R. Dunlop Smith, 2/22nd; Mrs Killery; Dr Killery, AMD; Miss Killery; Lt Col Ralston, (Commandant) 70th; Mrs Carter; G.S. Haines, 54th & 'Peter'; E.J. Carter, 65th; Capt Maxwell (Stn Staff Off) 54th; Jack Killery; T.J. O'Dell, 65th; Tingee'. Possibly R.D. Perceval's children. Possibly R.D. Perceval's wife and child. Possibly taken during Amanullah Khan's tour of Europe in 1927. Possibly taken during Reading's return to England on leave in April 1925. Lord Lawrence was the Lord Chief Justice of England. Possibly taken in South Africa. Prints 77-80 are preceded by a note which reads: 'These look more like Uncle J's service in South Africa than India'. A cross identifies 'J.F.F. Tate - brother of T.B.T.'. Possibly the Legislative Assembly or Delhi municipality? Postcard (original photograph). Potrait of an army officer. Potrait of a young girl holding on to her bonnet. Potrait of Major Balding fishing. Powell and Indian servant standing beside car on the road. Precise location unknown. Presumably group of Collectorate staff, with R.G. Davies seated centre. Presumably the compiler of the album.[Gelatin silver print, 71x81mm]. Priest seated on horseback. The mare he is riding is suckling a foal. Print 14 is a duplicate. Sitters named as follows: 'Mr K. Vaithianathan (Ceylon), Mr S. Dutt (India), Mr A.D. McIntosh (New Zealand), Mr Escott Reid (Canada), Sir Percivale Liesching (United Kingdom), Mr M.E. Dening (United Kingdom), Mr L.R. McIntyre (Australia), Mr D.D. Forsyth (South Africa), Mr M. Ikramullah (Pakistan), Sir Norman Brook (United Kingdom), HE Mr C.W. Frost (Australia), HE Mr H.R. Gollan (Australia), HE Mr V.K. Krishna Menon (India), Rt Hon Malcolm Macdonald (United Kingdom), Hon Mr J.R. Jayewardene (Ceylon), Mr R.G. Senanayake (Ceylon), HE Sir Walter Hankinson (United Kingdom), HE Mr Habib I. Rahimtoola (Pakistan), HE Mr John Oldham (Australia), HE Mr V.V. Giri (India), Hon R.W. Mayhew (Canada), Hon Ghulam Mohammad (Pakistan), Hon F.W. Doidge (New Zealand), Hon L.B. Pearson (Canada), Rt Hon Ernest Bevin (United Kingdom), Rt Hon D.S. Senanayake (Ceylon), Pandit Jawaharlal Nehru (India), Hon P.C. Spender (Australia), Hon Paul Sauer (South Africa), Rt Hon Philip Noel-Baker (United Kingdom), Hon Dr L.A. Rajapakse (Ceylon)'. Print 15 is a duplicate. Sitters named as follows: 'Hon J.R. Jayewardene (Ceylon), Hon R.W. Mayhew (Canada), Rt Hon Philip Noel-Baker (United Kingdom), Hon Dr L.A. Rajapakse (Ceylon), Mr R.G. Senanayake (Ceylon), Hon Ghulam Mohammad (Pakistan), Hon F.W. Doidge (New Zealand), Hon L.B. Pearson (Canada), Rt Hon Ernest Bevin (United Kingdom), Rt Hon D.S. Senanayake (Ceylon), Pandit Jawaharlal Nehru (India), Hon P.C. Spender (Australia), Hon Paul Sauer (South Africa)'. Print 262 is Colonel J.L.T. Jones. Print 7 is a duplicate of this. Sitters include: Churchill, Attlee, Peter Fraser (NZ), H.V. Evatt (Australia), Jan Smuts (South Africa), Godfrey Huggins (Southern Rhodesia), N.A. Robertson (Canada), Ernest Bevin, Stafford Cripps and Brenden Bracken. Print composed of three separate head and shoulders portraits of commandants of the three reigments amalgamated in 1929 to form the Corps of Sikh Pioneers. Photographic copies of earlier portraits. Print damaged after being stuck to opposite page. Print damaged by wormholes. Probably photographed in England.[Printing-out paper, 103x77mm]. Print dated in the negative. Print from a cracked negative. The location and sitters are unidentified. Print in poor physical condition. Print is signed: 'With best wishes from Jagendra Singh, 12/2/1938'. Print is tightly rolled. Print mounted on card. Photographic copy of a portrait of two Sikh officers, signed by P.A. de Lazlo and dated 1916. With a copy of a letter from Mrs I. Portal to Dr R. Bingle of the India Office, dated 26 August 1986, identifying the sitters as Maharaja Diraj Bhupindra Singh of Patiala and (more tentatively) the Maharaja of Jind or 'one of the minor Sikh states.' The photograph is inscribed in pencil on the mount from de Lazlo to Lieutenant-Colonel J.R. Dunlop-Smith. Print mounted on card with photographer's stamp. A group portrait of judges at Lahore, wearing wigs and gowns, presumably photographed on the occasion of the opening of the extension to the High Court at Lahore on 23 October 1923 (see following print) . The Chief Justice of Lahore, Sir Shadi Lal, is seated in the centre of the group. Print reproduced in G.E. Mitton, Scott of the Shan Hills (London, 1936), facing p.230, and there captioned: 'At Monglem over the Chinese border. Col. Wang in his riding cloak, with Tao in white (Chinese mourning), and Col. Couchman. Ranged up on the right are the Subadar of the Sikhs and the Jemadar of the Gurkhas'. It is in fact Tao's nephew rather than Tao himself who appears in this print (see print 55, taken on the same occasion, but showing Wang without his cloak). Prints 20-39 are duplicates of this. Caption continues: 'Left to right:- Sir Godfrey Huggins (Southern Rhodesia), Mr D.S. Senanayake (Ceylon), Mr Liaquat Ali Khan (Pakistan), Dr H.V. Evatt (Australia), HM the King, Mr C.R. Attlee, Mr N.A. Robertson (Canada), Mr E.H. Louw (South Africa), Mr Peter Fraser (New Zealand), Mr Nehru (India)'. Prints 28-30 are snapshots of Henry Hinchcliffe and J.S. Bell on the verandah of a bungalow, probably at Moda.[51x73mm]. Prints 3 & 4 are duplicates of this. Full-length seated portraits from left: D.S. Senanayake (Ceylon), Jawaharlal Nehru (India), Peter Fraser (New Zealand), Louis Laureal[?] (Canada?), Clement Attlee (UK), H.V. Evatt (Australia), E.H. Louw (South Africa), Liaquat Ali Khan (Pakistan), Sir Godfrey Huggins (Southern Rhodesia). Prints 9 & 10 are duplicates of this. Sitters include: Churchill, Attlee, Peter Fraser (NZ), H.V. Evatt (Australia), Jan Smuts (South Africa), Godfrey Huggins (Southern Rhodesia) and Ernest Bevin. Print shown at the Vienna Exhibition of 1873. Probably a servant of W.H. Nightingale. Probably by Develin; similar views are in his Views in Chitral, taken during the Advance of the 3rd Brigade of the Chitral Relief Force under the Command of Brigadier-General W.F. Gatacre, DSO, London c.1896. Probably in England. Probably photographed at Gilgit, 29 July 1885. The Mission report notes (p. 285) that on the arrival at Gilgit, 'between the fort and residency a carrier (Kahar) battery and regiment of infantry were paraded for inspection, and afterwards went through some manoeuvres, under General Indar Singh, very well indeed.'[albumen print, 278x202mm]. Probably photographed at Shigatse. Probably photographed at Shimla. Probably railway engineers, possibly photographed at Trichinopoly. The central figure also appears in the group of officers of the South Indian Railway Volunteer Corps at print 22, where he is identified as Colonel Betts. Probably related to W.H. Nightingale. Probably taken in England.[38x56mm]. Profile view of Irma Bailey, presumably in the Tang La, with Chomolhari in the distance. Profile view of Lady Canning seated on horseback, with Major Jones holding the bridle.[Albumen print,187x143mm]. Published in The illustrated London News, 23 September 1944. Not British Library copyright. Queen of the Belgians seated in centre of European group. R.B. Milne in pith helmet seated in a pony trap. Raja of Sikkim's son and attendants posed in front of trees. Ramsden's wife standing on the beach. Ramsden standing with the pet deer on a lead. Ranks and orders are identified in an attached key as follows: '1. Sepoy, Marching order; 2. Naique, Drill order; 3. Naique, Drill; 4. Naique, Marching; 5. Drill Havildar, Drill; 6. Sepoy, Drill; 7. Havildar, Marching; 8. Drummer, Drill; 9. Havildar, Drill; 10. Sepoy, Marching; 11. Bugler, Marching; 12. Drum Major, Drill; 13. Havildar-Major, Drill; 14. Lance-Naique, Drill; 15. Sepoy, Drill; 16. Naique, Drill; 17. Sepoy, Drill'. Rather distant view of group in front of entrance to the Residency.[Silver printing-out paper, 79x95mm]. Regent seated in garden, with the two attendants seen in print 84 standing to left.[Gelatin silver print, 141x93mm]. Regimant on parade, with military band in foreground. With General Ali Pasha at the head of the regiment.[Albumen print, 372x305mm]. Regimental group. Regimental group in the bazaar. Regimental group portrait with elephants behind. Regiment on parade, with military band in foreground. General Ali Pasha is mounted at the head of the regiment.[Albumen print, 370x300mm]. Regiment on parade, with military band in foreground. Print in poor condition, with overall spotting.[Albumen print, 372x310mm]. Regiment on parade, with military band to the fore.[Albumen print, 379x308mm]. Regiment on parade, with the military band to the fore.[Albumen print, 377x310mm]. Reginald Alexander, servants and ponies posed in front of a bungalow. Reginald Teague-Jones and his mechanic/assistant Abdul standing in front of the author's car (Zobeida), between Baghdad and Khaniqin (see print 40).[Gelatin silver print, 121x70mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 271, there captioned, 'Nizam-ul-Mulk and Attandants.'[Albumen print, 274x211mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 276, there captioned, 'The Kahar Battery, Gilgit.' For dating, see note at print 33.[Albumen print, 260x196mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 276, there captioned, 'The Kahar Battery, Gilgit.' For dating, see note at print 33.[Albumen print, 278x210mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 277, there captioned, 'The Kahar Battery, Gilgit. (Gun bearers).' For dating, see note at print 33.[Albumen print, 277x213mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 300, there captioned, 'Balti coolies in camp.'[Albumen print, 156x99mm]. Reproduced in W.S.A. Lockhart and R.G. Woodthorpe, 'The Gilgit Mission, 1885-86' (Eyre and Spottiswoode, London, 1889), facing p. 4.[Albumen print, 277x215mm]. Reproduced opposite page 16 in Hardinge's On hill and plain (1933). Reproduced opposite page 6 in Hardinge's On hill and plain (1933). Duplicate at Print 115. Reproduced opposite page 6 in Hardinge's On hill and plain (1933). Duplicate at Print 72. Rev. and Mrs Storr-Fox standing in garden. Rev. Hodder posed in centre of group (mainly composed of Eurasian women. Rev and Mrs Storrs-Fox posed beside lake, Mrs Storrs-Fox on horseback. Rev and Mrs Storrs-Fox seated at a table in camp. Rev and Mrs Storrs-Fox seated beside river. Rev and Mrs Storrs-Fox standing beside river. Rev R. Clark is sitting on the ground in the centre. Rev Storrs-Fox, in swimming costume, standing in a small boat. Rev Storrs-Fox and the women identified as M.J.N. and M.C.N. standing on stepping stones in a river. Photograph probably taken by Mrs Storrs-Fox. Rev Storrs-Fox on horseback. Robert Case posed on a hillside. Duplicate negative, no print. Robert Warburton (1842-1899), posed in the centre of a group of Afghan warriors. Colonel Sir Robert Warburton, a political officer at the is period, was himself half-Afghan, his mother being the neice of the former Amir Dost Mohammad. He was the author of a memoir, 'Eighteen years in the Kyber' (London, 1900). Duplicate at Photo 487 (55). Second copy neg at B.9064. Roos-Keppel and the Khan standing side by side, with the Khan's retainers standing behind. Sir George Olof Roos-Keppel (1866-1921) was Chief Commissioner of the North-West Frontier Province 1908-19. Pencilled caption on the reverse reads, 'Sir George Roos-Keppel standing in front with the new Khan of Teri. Teri tahsil is in the Kohat district. Ryder standing beside an antelope he has just shot. Saffron contractors seated on rugs in the field. Same buffalo as Print 104. Same figure as seen in print 7. Same group as Print 10, but here they are seated, with two chauri-badars standing behind. Duplicate at Photo 430/30 (11). Same group as Print 18. Same group as Print 3, but a closer view. Same group as Print 351 but in different positions, from left: Dr La Presle, Dr Richmond, Dr Murray, Dr Cullen, Dr Storey, Dr Whittal and Dr Lacy. Print has been poorly processed. Same group as Print 41. Same group as Print 45. Same group as Print 59. The caption is more detailed giving the regiments of the officers as follows: Captain Strong (10th Hodson's Horse), Lieut Strong (45th Sikhs), Peters (10th Hodson's Horse) and Major Jacob (Baluchis). Same group as Print 63. Same group as Print 69. Same group as Print 9. All named: 'Birdwood, RE; Brandreth; Capt White, RE; R.D. Perceval; Genl [James] Browne, RE; Walton, RE; Rogers; Houghton; W.J. Weightman'. Same sitters as Print 88. Same sitting as Print 7 where doctors and nurses are named. Same sitting as Print 88. Same sitting as Print 90. Sanyasi (?) at prayer. School portrait of class at boys' prep school. Seaed in garden of trade agency at Gyantse, with servants gathered round. Seated at a table in camp, within a protective wicker stockade. Seated group, evidently taken on the same occasion as prints 78-79, but with Lady Helen and Eileen Younghusband.[Silver printing-out paper, on card mount with photographer's stamp, 281x212mm]. Seated group, identified in Bell's index as (left to right) Dorje Techi, Duke of Chang-lo-chen, Minister Tsarong, Bell, Minister Ngar-po, Priest Minister Parkang, Duke of Punkang, Kennedy. Seated group, no identifications supplied.[Gelatin silver print, 136x82mm]. Seated group, with dead birds laid out in foreground. Seated group of military officers. Seated group of PWD engineers. Seated group of the Yaunghwe Kyemmong, wife and retainers.[Gelatin silver print, 163x116mm]. Seated group of Tibetans. One sitter identified as Teling Kusho. Poor quality print: faded. Seated group on hillside, probably on the Safed Koh range. Seated group portrait of Harold and Margaret Wilberforce-Bell, the Chief of Jetpur Lakshman Meran, and Awra Wala of Thana Devli. Seated group portrait of Kandyan chiefs outside the Temple of the Tooth (Dalada Maligawa) at Kandy. The caption incorrectly places this view in Colombo. The photograph may also have been taken at an earlier date than that given in the caption. Seated in open air behind small wooden table. Seated portrait. A closer view than print 29, and without attendants. Seated portrait of Deb Raja, flanked by two attendants. Seated portrait of Lin Shar and Kyi Buk, similar to print 222, but taken against a different background. Leaning against the wall behind is a Tibetan cannon. Seated portrait of the three ladies. Seated portrait of the three men, with their attendants standing behind. The two trade agents are Lin Shar and Kyi Buk. Seated portrait of the two men with attendants. Poorish quality print. Seated portrait of three servants or messengers at Fort Stedman Second copy at print 81.[Albumen print, 131x58mm]. Second copy at print 82.[Albumen print, 130x88mm]. Second copy of print 14. See also Print 113. See note at print 192.[Gelatin silver print, 94x142mm]. See note at print 322.[Gelatin silver print, 113x78mm]. See notes with Print 56. See prints in Photo 66/2. Servant posed with pony 'Arthurstone.' Servants and porters with baggage ponies beside the Sind River. Servants grouped around cooking fire. Servant with three dogs on leashes.[Albumen print, 116x90mm]. Seven European officers of the 5th Gurkhas, probably photographed at Abbottabad. Only three men can be positively identified as the Commander, Major O.E. Rothney (centre), Captain H.P. Close (sitting left) and Lieut J.M. Sym (standing left). The other four men are probably those listed in the army list for 1865 as: Lieut E.C. Codrington, Lieut H.J. Lawrence, Lieut A.P. Broome and Surgeon W.G.W. Clemenger (although none appear to be wearing an IMS uniform).[Albumen print, 173x137mm]. Seven photographic copies (variously cropped) of a composite portrait by Evelyn Werge Thomas. This appears to be largely based on Dicksee portrait (see prints 9-10). Seven small snapshots of European groups.[Silver printing-out paper.] Several individuals named as follows: 'Hicks, Dr Collins, Mrs Wyllie, Mr Bridges, Ethel McNeil, Capt Radford, Capt Groves, Mrs Radford, Capt Phillips, Capt D[?], Mrs Atkins, Burt, Dr Beatson, Mrs Marshall, Miss Dorling, Mr Hodgson, Nawab of Mamdot, Col Wyllie, Lt Bolton, Major Marshall, Mrs MacMahon, Capt Fasken, Bartle Grant'. Several individuals named as follows: 'Mr [Charles Harold] Barry (Principal), Mr MacFarlane, Mr Parkinson, Mr Boyd, self [Wilberforce-Bell], Sir Feroz Khan Noon, HE Sir Herbert Emerson'. Several named as follows: 'J.C. Campbell [Lt J.C.L. Campbell], Ronald Maxwell [Lt Ronald C. Maxwell], Kenney [Lt A.H. Kenney], Brackenbury [Capt M.C. Brackenbury], North [Capt W. North], Scott-Moncrieff [Lt G.K. Scott-Moncrieff]'. Several sitters are named below the print. Sher Ali with four of his Nizami soldiers, standing at attention. Shigatse Gyabying and Bailey seated in front of wall. Shikari and two dogs posed bside dead blackbuck. Shikaris posed with carts for transporting the bag. Shikaris posed with dead blackbuck. Shooting party at lunch: Kennedy and Macready seated among the rocks with the dogs. The same picnicking spot is seen in part 463 (167-8). Shooting party halted for lunch, with game laid out on ground. The two Europeans facing the camera are identified as Kennedy and Macready. Showing Ahmad Yar Khan (Khan of Kalat from 1933) and Sir Torquhil Matheson (General Officer Commanding in Chief, Western Command, India) standing on the path leading to the entrance to the fort. Photographed during the visit of the Viceroy Lord Willingdon.[Gelatin silver print, 154x214mm]. Showing Charles Girdlestone, the British Resident, seated with others in a horse carriage, probably in front of the British Residency at Bangalore.[Albumen print, 197x140mm]. Showing Edwards, garlanded, seated in the centre of a large group, all Indian apart from one unidentified European figure seated beside him. A sign behind the group reads 'State Garage Junagadh'. Showing General Sir Torquhil Matheson and Lady Matheson with attendants on the roof of the fort at Kalat.[Gelatin silver print, 214x161mm]. Showing Jung Pershad tethered to a tree.[Albumen print, 135x96mm]. Showing Mr Bartlett, the naturalist attached to the Prince of Wales's party, posed with tiger skins and Indian assistants in front of a tent.[Albumen print, 135x96mm]. Showing Mrs Petley standing beside a young elephant with its keeper.[Printing-out paper, 98x72mm]. Showing Norbhu reading the permit at the New Year's Day luncheon party hosted by the British Mission. 'On arrival the first act of the Cabinet was to hand to Norbhu a sealed packet made of coarse Tibetan paper, together with the customary white scarf of greeting. This turned out to be the permission for an Everest Expedition in 1938. The Cabinet had been considering the question for some weeks and it struck us as an act of the greatest courtesy to hand over the permit so unostentatiously as a New Year's present.' (Lhasa Mission Diary, 1 January 1937).[Gelatin silver print, 104x156mm]. Showing Sir Chamrajendra Wadiyar, Maharaja of Mysore, seated in the howdah of a state elephant.[Albumen print, 206x146mm]. Showing Sir William Mackworth Young seated between Lady Frances Young (left) and Lady Edith Dane (right). Sir Louis Dane stands with other officials behind his wife. Duplicate of Photo 761/5 (50). Showing Summers, an Assistant Superintendent of Police in the Sagaing District, seated on a pony in a garden. A faded print.[Printing-out paper, 146x106mm]. Showing the General as an old man standing in a garden. Inscribed on the reverse, 'General John Nisbet taken by Clem Dane his g.g. grand nephew ?1907. Clarendon Lodge, Millbrook, Southampton.' Showing the group also seen in number 29, seated beside a river. Showing the Jongpan seated at a table eating with a European. Showing the tethered elephant, used in capturing wild elephants, with a mahout on his back.[Albumen print, 132x96mm]. Showing the three figures seated on a hillside watching troop movements.[Gelatin silver print, 140x80mm]. Showing the twin children of Sir Edward Campbell, seated together in a pram, with Miss Larpent, their governess standing beside them.[Albumen print, 180x135mm]. Showing the two ladies seated on a raft made from inflated bullock skins. Showing the two men and the dog Jinny standing beside the pegged-out skin. Poor quality print.[Gelatin silver print, 120x68mm]. Showing the two men arriving at the British Mission on horseback. 'Bhondong Shap� and Kalon Lama, both members of the Kashag, came to lunch. Today it is cold and wintry, and a bitter wind is raising dust storms.' (Lhasa Mission Diary, 4 December 1936).[Gelatin silver print, 108x154mm]. Showing the two men seated on a raised platform. Showing the two women at work in camp. Showing three European men seated at dinner round a table in a tent. The men are identified as (left to right): [name illegible] IMS; Corbett PWD; Janson Ry (Vincent Tindall Janson, Engineer, Railway Department). Showing two Europeans and a Tibetan man on horseback, riding away from the camera. Smith is presumably Daniel Richard Smith (b. 1897), Trade Agent at Gyantse from 1929-30. Showing W. R. Haughton, Resident Engineer on the Eastern Bengal State Railway, asleep in a 'planter's chair'. Showing Walter Raleigh Haughton, Resident Engineer on the Eastern Bengal State Railway, asleep in a 'planter's chair'. Side view of a covered bullock-drawn coach. Charles James Napier Campbell and Edward Fitzgerald Frederick Campbell, twin sons of Sir Edward Campbell, Military Secretary to Lord Canning, are seated inside the carriage, looking towards the photographer.[Albumen print, 202x130mm]. Side view of a lifeboat with its personnel rowing. The instructor and the lifeboatmen are in uniforms.[Albumen print, 310x381mm]. Side view of elephant, with Lady Canning seated in howdah. With note beneath print: 'We were living at Futtyghur in /59 Xmas - & were constantly in camp with Lady C-. My sister also was there.' [Albumen print, 181x160mm]. Side view of elephant with Lady Canning sitting in howdah, shielded by an umbrella held by the servant seated behind her. Lady Bayley's note beneath the print states that she was 'going out to sketch.' An engraving from this photograph is reproduced in Augustus J. Hare, 'The Story of Two Noble Lives' (vol. III, 1893, p. 92).[Albumen print, 175x226mm]. Side view of memorial.[Silver printing-out paper, 180x309mm]. Sidkeong Tulku, Maharaj Kumar of Sikkim, seated in a chair in front of tents in the British camp, with three retainers standing behind him. Poor quality print. Sifton in centre of group of officials on the steps of the library. Signed, 'Mary 1911-12'. Signed: 'Yours sincerely, Walter Warneford, Auzac[?], Oct 1914'. Signed and dated portrait, the Raja seated with his son on his lap. Signed by Bhupendranath Basu (1859-1924), Member of the Council of the Secretary of State for India.[Gelatin silver print, 153x103mm]. Signed head and shoulders portrait. Signed head and shoulders portrait. Signed head and shoulders portrait. The photograph was taken using the 'Van der Weyde Light. Daylight superseded by electricity'. Signed three-quarter length portrait. Signed three-quarter length portrait. Sikh Pioneer posed with dog and dead gazelle. Simialar view to Print 66. Similar group at Photo 469/9 (37). Similar group to print 15, differently arranged. Similar group to print 167, but without Bailey and Kennedy. Similar group to print 3, evidently taken on the same occasion, but with sitters re-arranged. Colonel Webster stands at the back in the centre; Francis Clifton Muspratt is seated on the right.[Albumen print, 253x200mm]. Similar group to print 4. Similar group to print 40, taken on the same occasion. Similar group to print 40. Similar group to Print 75. Similarly posed group portrait to prints 9 and 13, taken on the same occasion. This print, however, identifies the sitters as follows: back row, standing: [W.F.] Harnett, [E.A.S.] Bell; seated: Mr [Charles] Pratt, Mrs Bell, Tom [Hindmarsh], Mrs Pratt, Bobby Pratt, Dorothy Bell, Tommy Bell. Similarly posed group to print 20, but with sitters in different costumes.[Albumen print, signed 'P. Klier Rangoon' in the negative, 270x211mm]. Similarly posed group to print 22. Similar named group at Print 131. Similar portrait group to print 1, taken on the same occasion. Similar portrait to Print 146. Viceroy's staff including : Major Hamilton, Captain Hon'ble C. Harbord, Lieut Creagh, Sir Donald Mackenzie Wallace, Lord Bingham, Colonel Ardagh, Captain Pakenham, Captain Streatfield, Surgeon-Major Fenn, Lord William Beresford. Similar portrait to Print 68 which was taken the previous year. Similar portrait to Print 7. Similar to page 116, but a side view of the car.[Gelatin silver print, 291x248mm]. Similar to preceding print. Second copy neg at B.7322. Similar to print, 7, but with J.W. Watson replacing Carter in the photograph.[141x82mm]. Similar to print 1, but a slightly different pose. Similar to print 1, but with Younghusband standing to the left of his wife.[Albumen print, 193x298mm]. Similar to print 10, and similarly inscribed.[Albumen print, oval image, 87x114mm]. Similar to print 103, but slightly more distant. Similar to print 10a.[138x96mm]. Similar to print 110, but with a second European in the photograph.[100x73mm]. Similar to print 12. Similar to print 125. Similar to print 126, but in marginally better condition. Similar to Print 126. Similar to print 128. Similar to print 133, but a little less clear. Similar to print 133. Similar to print 1340 (qv), but without children. Similar to print 135. Similar to print 14, but a side view of the carriage.[Albumen print, 210x146mm]. Similar to print 143. Similar to print 144a.[39x101mm]. Similar to print 15, but with inclusion of NCOs.[Gelatin silver print, signed 'Holmes' in the negative, 292x233mm]. Similar to print 167, but without Stein. Similar to print 169. Similar to print 170. Similar to print 170. Similar to print 178. Similar to print 179, but in landscape format. Similar to Print 179 showing the Stotherds on horseback. Similar to print 18.[Gelatin silver print, 140x81mm]. Similar to print 18. Similar to print 182. Similar to print 188. Similar to print 19, but in cabinet portrait format and with some hand colouring.[Albumen print, 105x144mm]. Similar to print 19e. Similar to print 2.[141x84mm]. Similar to print 21b. Similar to print 22, but image vignetted. Similar to print 22. Similar to print 221. Similar to print 222, but figures blurred through movement. Similar to print 223. Similar to print 225 (qv).[Albumewn print, 233x189mm]. Similar to print 23, but showing more of the upper half of his robe. Similar to print 24, sitters posed slightly differently. Similar to print 24. Similar to print 25, but with figures on left blurred owing to movement. Similar to print 252, but with the man seated. Similar to print 252a. Similar to print 25 Similar to print 26. Similar to print 262. Similar to print 263, but with servant holding dog in foreground. Similar to print 26a, but a slightly different pose. Similar to print 28.[Albumen print, 377x310mm]. Similar to print 289a, slightly different pose. Similar to print 28a. Similar to print 295, but not double exposed. (Ancient Persis Map B1). Similar to print 296. (Ancient Persis Map B1). Similar to print 30, but a larger group. Similar to print 31. Similar to print 32a, but with the sitters re-arranged. Ethel Younghusband does not appear in this group (presumably because she could not keep still for the length of the exposure), and two additional figures are included: Clara Younghusband and an unidentified young man.[Albumen print, 217x163mm]. Similar to print 33, but with young girl standing beside her. Similar to print 33.[Albumen print, 376x306mm]. Similar to print 36, but full-face. Similar to print 36, but with the heir apparent standing beside the Bugti Nawab.[Gelatin silver print, mounted on card, 163x210mm]. Similar to print 364, but seated. Similar to print 367. Similar to print 37.[86x73mm]. Similar to print 371, but a closer, half-length view with the left-hand figure excluded.[Gelatin silver print, 155x104mm]. Similar to print 373a. Similar to print 38, with dog licking child's face. Similar to print 39. Similar to print 40, but with a group on horseback in the foreground.[Gelatin silver print, 131x178mm]. Similar to print 40. Similar to print 40. Similar to print 41 (qv). Similar to print 42. Similar to Print 43. Individuals sitting in the front row are numbered and named on the reverse as: '1. Captain Weir, RAMC; 2. Sister Reilly; 3. Captain Fleming, RAMC; 4. Sister Graham; 5. T.W.B.; 6. Captain O'Neill, RAMC; 7. Ass Surgeon Scanlon; 8. Major Maclaran, RAMC; 9. Miss White, Matron; 10. The CO, L-Col Stannard, RAMC; 11. Capt F[?]ty, Registrar, RAMC; 12. Capt Bury, RAMC; 13. Capt Fenton, RAMC; 14. Capt Sewell, RAMC; 15. Capt Wright, RAMC; 16. Capt Moran, RAMC; 17. The Sergeant Major; 18. Capt Moyman, RAMC; 19. Assist Sister Massage[?]'. Similar to print 45, but a closer view of the group.[Gelatin silver print, 79x54mm]. Similar to print 45, but with sitters re-arranged. Similar to print 45. Similar to print 46. Similar to print 47, but in better condition. Similar to print 47. Similar to print 491. Similar to print 5, but only including main committee members (viz. the middle row). H.W. Hale seated at left; second figure from left identified as Mehe Chand Khann. Similar to print 5, but with a second figure seated beside the main sitter.[Albumen print, 110x153mm]. Similar to print 5, but with the bridegroom Francis Younghusband seated beside his wife and an unidentified bridesmaid standing behind.[Albumen print, 288x227mm]. Similar to print 5.[Albumen print, 88x151mm]. Similar to print 50. Similar to print 516a. Similar to print 521a. Similar to print 522, but slightly further away. Similar to print 54 but a clearer, closer view. Similar to print 563. Similar to print 58, but more distant and slightly unsharp. Similar to print 58, but with the four officers standing in front of a stone wall and maxim gun emplacement. Similar to print 59. Similar to print 6.[Albumen print, 185x248mm]. Similar to print 61. Similar to print 61. This print is slightly sharper. Similar to print 68.[Albumen print, 142x107mm]. Similar to print 69. Similar to print 70. Inscribed on reverse: 'Dorothy and Nelly (Ellen) Dane 3 and 4th children of Louis & Edith Dane. A 3rd daughter Clare was born [1911] our 5th child, she died in 1899.' The '1911' appears to be a later interpolation. Similar to print 70a, holding staff aloft. Similar to print 76, but a closer view of the Dalai Lama. Hands apart on cushion. (The Religion of Tibet, p. 192). Similar to print 77, but without hat. Two copies. Similar to print 77. Similar to print 79. Similar to print 8, but with Barnes facing the camera rather than in profile. Photograph unsigned, but probably by Watts & Skeen. Similar to print 80. Similar to print 81. Similar to print 84.[Albumen print, 165x112mm]. Similar to print 85. Similar to print 91. Faded print.[139x84mm]. Similar to print 93, but with two unidentified figures sitting in shelter of the boat. Similar to print 95. Similar to print 99. Similar to prints 1-2, but slightly more distant.[Silver printing-out paper, 80x102mm]. Similar to prints 34, 37 and 39. Similar to prints 34 and 37-39. Similar to prints 34 and 38-39. Similar to prints 42-3. Similar view at Photo 355/3 (29). Group standing on the steps of a bungalow, from left: 'Capt Balfour, ADC; Sir M. Wallace; Sir H. Durand; HRH the Duke of Connaught; [Unnamed Afghan official]; Gen Sir J. Gordon; HH the Amir [Abdur Rahman Khan]; Sir Adelbert Talbot; HE Lord Dufferin'. Similar view at Photo 448/2 (237). Similar view to Print 129. Similar view to Print 21 where several individuals are named. Similar view to Print 25. Similar view to Print 88. Sir Anand Rao Ponwar with state officials. A banner with the state coat of arms hangs in the background. This is the banner presented to the state on behalf of the Queen at the Imperial Assemblage at Delhi in 1877. Sir Deighton Probyn and Indian attendants posed beside elephant.[Albumen print, 135x97mm]. Sir Frederick Sykes with Indian officials. Sir Geoffrey Ramsden's wife (?) on an elephant. Sir Geoffrey Ramsden (?) on an elephant. Sir Geoffrey Ramsden stands in the background holding his fishing rod, in the foreground bearers carry two large fish suspended from a pole. Sir George Stanley is sitting in the centre on an elaborately carved wooden chair, his wife is sitting to his left and Colebrook is standing behind her. Sir Harcourt Butler, Lieutenant-Governor of the United Provinces, standing in ceremonial uniform with Archibald Batty, his ADC, and Victor Gamble, his Private Secretary.[Gelatin silver print, 81x132mm]. Sir Harry and Lady Annie Lauder, seated in the garden at Government House, Barrackpore. Harry Lauder toured extensively in the empire during his career. Sir Herbert Thirkell White seated with his personal staff (as in print 11: Pennell, Caldecott, Lentaigne) and one unidentified figure in naval uniform. This small group is flanked by two Sikh soldiers rather than the full Government House staff as in print 11, but probably taken on the same occasion.[Albumen print, 273x212mm]. Sir Hugh and Lady Dow seated with unidentified Indian dignitary (who alos appears in prints 34 and 44); R.G. Davies standing third from left. Sir Hugh Barnes holding the bridle of one of his horses. The photograph is evidently intended as a portrait of the horse rather than Barnes himself. Duplicate at print 11, where the horse is named Black Bride Sir Hugh Dow seated in the centre of an unidentified group.[Gelatin silver print, 203x147mm]. Sir John Lawrence and members of the Council of the Governor-General. The sitters are: (secretaries, standing behind, left to right): Edward Harbourd Lushington, Financial Secretary; Colonel (later Sir) Henry Norman, Military Secretary; Colonel (later Sir) Henry Durand, Foreign Secretary; Mr (later Sir) Edward Bayley, Home Secretary; Colonel (later Sir) Richard Strachey, Public Works Secretary. (Members of Council, seated, left to right): George Noble Taylor; Sir Charles Trevelyan; Sir Hugh Henry Rose (Lord Strathnairn); Sir John Lawrence (Lord Lawrence); Sir Robert Napier (Lord Napier of Magdala); Mr (later Sir) Henry James Sumner Maine; Mr (later Sir) Willaim Grey.For other copies of this print see Photo 25 (41), Photo 42 (192), Photo 782 (13), Mss Eur G38/2 (LXIIIb). Photo 793 (56) shows a similarly posed group, evidently taken on the same occasion. Dates between 1864 and 1866 are given on various prints. Sir Lancelot Graham seated next to R.G. Davies in centre of group. Sir Louis' right arm is in a sling. Sir Maurice Hallett and Raja Indrajit Pratap in centre of group. Sir Montagu and Lady Butler posed with dead tiger, Sir Montagu and unidentified companion with dead leopard, leopard being carried back to camp on running board of car.[Gelatin silver prints]. Sir Montagu and Lady Butler seated with an unidentified third figure. Caption reads: 'After a f�te in Yeotmal once upon an August day.'[Gelatin silver print, 25x150mm]. Sir Montagu Butler's daughter Iris Portal on the tennis court.[Gelatin silver print, 137x88mm]. Sir Montagu Butler and his daughter Iris Portal seated reading on the verandah of Government House.[Gelatin silver print, 104x73mm]. Sir Pierre Louis Napoleon Cavagnari and Kohat officials. A man is sitting in the foreground with a set of scales and a bag and Cavagnari is writing in a book, although the nature of the activity is unclear. Sir Pratap Singh, Maharaja of Orchha, seated on horseback and surrounded by attendants.[Albumen print, oval image, 118x89mm]. Sir Pratap Singh seated on elephant, with attendants grouped around. Faded print.[Albumen print, 135x96mm]. Sir Ram Singh sits cross-legged holding a sword and shield. Sir Robert Highet, Cyril Lloyd Jones and Robert Sewell, posed beside an old gun in Daulatabad Fort. Print fading.[Silver printing-out paper, 76x133mm]. Sir Sadiq Muhammad Khan sits in the centre with state officials sitting on the floor on each side. Behind is the banner presented to the state on behalf of the Queen at the Imperial Assemblage, Delhi, 1877. Sir Umed Singh, Francis Younghusband and an unidentified European, seated in front of a tent with a dead wild boar and an antelope at their feet.[(?)Silver printing-out paper, 115x150mm]. Sir William Mackworth Young, seated in centre, with Lady Frances Young on left and Lady Edith Dane on right. Sir Louis Dane stands on the right. Probably taken during the same visit as seen in print 104. Lady Young wears the same jacket seen in print 102 Sir William Mackworth Young is sitting in the centre of the group flanked by Lady Young and Lady Edith Dane. Sir Louis Dane is standing behind his wife on the right. Other unidentified figures include European and Kashmir officials. Sitters are identified as follows: '[Standing] Mr Latimer, Mr Babington Smith, Dr Franklin, Mr ....., Mr Cole. [Sitting] Lady E. Bruce, Lord Bruce, Col Vincent, Lady Elgin, H.E. [Lord Elgin], R. Bruce, Mrs Vincent, Mr Cuningham'. Sitters are listed in full at Photo 355/2 (34). In this print rulers are identified by their state name: 'Faridkote, Nabha, Pattiala, LG [Lieutenant-Governor], Jhind, Kapurthulla, Chamba'. Sitters are named as follows: '[Standing] Miss Sellar, Capt Morley, Col Durand, Capt Daly, Mr Latimer, Mr Cole. [Seated] Col Newill, Mrs Wyllie, H.E. [Lord Elgin], Lady Elgin, Col Wyllie, Lady E. Bruce'. The copy negative for this print is a detail. Sitters are named in an accompanying key as follows: '1. Samuel Thos. Hollins, IG/UP; 2. Col Cyril de Montfort Wellborne, IG/Burma; 3. John Hunter Adam, OBE, IG/NWFP; 4. Sir Chas. Banks Cunningham, Kt, CSI, IG/Madras; 5. Sir Horace Williamson, Kt, CIE, MB, Dir/IB; 6. Sir Henry Craik, KCSI, Home Member/Ex Council; 7. The Marquess of Willingdon, Viceroy; 8. Sir Maurice Hallett, GCIE, KSCI, Home Secretary; 9. T.P.M. O'Callaghan, IG/Assam; 10. T.J.A. Craig, CIE, IG/Bengal; 11. Sir Charles Chitham, Kt, CIE, IG/CP; 12. Sir John Murray Ewart, CIE, IG/Punjab; 13. Sir Eric Mieville, PS to Viceroy & Secy/Ex Council; 14. John Felix Cowgill, OBE, PA/DIB; 15. Khan Bahadur K.J. Petigara, CIE, Dy Commr/Bombay; 16. Michael Francis Cleary, OBE, KPM, CIO/Bengal; 17. E.A.O. Perkin, AIG/Bihar & Orissa; 18. P.C. Bamford, CIE, DIG/Bengal; 19. [?] E.E. Turner, CSI, IG/Bombay or Arthur Chas. Carter, AIG/Bihar & Orissa; 20. Ralph Albert Horton, CIE, DIG/UP; 21. Thos. Edwin Furze, MC, Jt Secy/Judl Dept, Assam; 22. Alfred Francis Bulkeley, KPM, DIG/Madras; 23. T.M. Collins, CIO/CP; 24. C.E. Joyce, DIG/NWFP'. Sitters are unidentified although the group includes Captain Daniel Mocatta and Major Richard Wall of the Punjab Police. Glover is standing behind the woman seated on the right. Sitters identified: 'From left to right. 1st Row. Cockburn-Hood, Corey Bird, Dr Costello. 2nd Row. [Unknown], Major Luther Vaughan, Bill Paget, Joe Anderson. 3rd Row Standing. [Unknown], Hammond, John Boswell, [Lieut Percy Smith]. 4th Row Sitting. Perry, Snow, [Captain Daniel Mocatta], [Two unknown], Campbell, [Dr E.O. Tandy], [Unknown], [Lieut G.C. De Lautour], [Lieut J.C. Stewart]. 5th Row Sitting on ground. [Unknown], P[?] Stewart, [Two unknown]'. Sitters identified as follows: (seated, left to right): 1. Sidi Alimiya Khanzade; 2. Lady Prabhashankar Pattani; 3. His Highness the Nawab Saheb of Sachin; 4. Colonel Wilberforce-Bell; 5. His Highness the Nawab Saheb, Janjira; 6. Mrs Wilberforce-Bell; 7. Sir Prabhashankar Pattani; 8. Rao Bahadur H.B. Kotak, the Dewan; 9. Mr Ramsay. (Standing, left to right): 3. Sidi Ibrahim Khanzade; 4. Sidi Jaffar Khanzade; 5. Sidi Kasim Khanzade; 6. Sidi Abdur Rahman Khanzade. Sitters include: Capt P.B. Janson, Govindrao Powar, Capt J.H. Souter, Sarup [or Samp?] Khan, Capt S.C. Scott, (Unidentified Indian officer), Capt W.R. Thomson (?), Sitaram, Ram Sarup [or Samp], Major C. D'Grey Bingham, H[?] Ram, Lieut-Colonel B.I.H. Adler, Jemadar Lakshiman Rao Scinde, Capt H.E. Warry and Sardar Khan (?). Sitters in the front row of the group include: Bhag Mall, Head of Superintending Engineer's Office; John Armstrong Shilliday, Secretary of Dept; Harris, Consulting Engineer; Sir Thomas Ryan, Joint Secretary and Sir Alex Brebner. Sitters listed at Photo 355/2 (35). Sitters named, from left: 'Agnes, Tina, Edith, Capt Lambert, Mother [Lady Aitchison], Winnie, Mr Mason, Karlie, Father [Sir Charles Aitchison], Miss Ingram'. Sitters named, left to right: 'Sir H.M. Durand; Sir D.M. Wallace; Sir West Ridgeway; Capt Manifold; Lord Wm Beresford; Capt Raleigh Egerton; Miss Thyme; Sir C.W. Aitchison; HRH Duchess of Connaught; [Unnamed man]; HRH Duke of Connaught; Lord Dufferin; Capt Evans Gordon; Lady Helen Blackwood; Lady Aitchison; Col Wiloch; Sur Major Reid; Mrs Hannay; Col Artie Becher; J.R.D.S. [Dunlop Smith]; Col Hannay'. Sitters named; from left: 'Capt Keighley, ADC; Col Baring, mil sec; Mr Louis Dane, For secretary; Sir Ranbir Singh, KCSI, Kanwar Sahib of Patiala; Col Pretum Singh, C in C of Patiala troops; Col Abdul Majid Khan, For minister of Patiala; Lord Curzon; F.W. Latimer; The Maharaja; Mr Bolster, Pers assistant to Maj Dunlop Smith; Mr Sells, MR's Tutor; J.R.D.S. [Dunlop Smith]; Sirdar Gurmukh Singh, Pres, Council of Regency, Patiala; Khalifa Mahomed Hussain, Council of Regency, Patiala; Lala Bugwan Das, Council of Regency, Patiala'. Sitters named as follows, left to right: '[Standing] Mr. Higham [later Sir Thomas Higham]; Capt Lambert; Mr Cotton; Col McQueen; Dr Bate. [Sitting] Mrs Home; Mr Fanshawe; Father [Sir Charles Aitchison]; Tina [Beatrice Clementina Aitchison]; Mr Green. [Sitting on ground] Mr Merk; Col Home; Capt Dunlop Smith'. Sitters named as follows: 'A.N. Cumming; C.L. Sclater-Booth; W.J. Birkbeck; W.W. How; S.F. Gedge; Lord Pakenham; C.G. Bower; G.J. Talbot; J.G. Pemberton; T.M. Macdonald; J.A.R. Marriott; B. FitzGerald; Lord W. Cecil; E.G. Mowbray; H.F. Rawstone; A.H. Hardinge; E.B. Iwan-M�ller; A.A. Baumann; Rev H.B. Deane; Hon G.N. Curzon (Sec); Viscount Cranborne; W.A. Bailward; R.G.C. Mowbray; C.A. Whitmore; J.T. Haines; E.C. Owen; A.T. Thring; R.St J. Ainslie; P.M. Smythe'. Sitters named as follows: 'Archie Dyer, Digger officer, Self [P.B. Janson], Donald Bryceson, [?] Lawrenson, Knighto, Appy Buist, Skrine, Hottie Moss, Frankie Moore, Hullock, Alec Moore'. Sitters named as follows: 'Budha Ram (Grass-cut), Pir Buksh (Syce), Maipal (Syce), Ghulam Hussein (Peon), Ganesh Dass (Jumodar), Nawab Din (Bearer), Mer Ali (Khansama), Partap Singh (Sowar), (Sweeper), Pakkai (Grass-cut), (Bheestie), Ghulam Mahomed (Chowkidar), (Mali), 'Taffy''. Sitters named as follows: 'Capt Milne, DAQMG; Brig Gen Foord; Col Bengough, AAG; Lt Col Laughton, PCO; Lt Ballard, RN; Capt Sanders, RA; Mr Barton Groves (Post Gen); Lt Quenton Agnew; Major Walker, DAQMG; Lt Col Protheroe, DAAG; Capt Wilkieson, RE; Surg Major Mackinnon; Col Carey, RA; Lieut Gen Prendergast, VC; Surg Gen Donelly; Lt Learoyd, RE; Capt Macpherson; Capt Aldworth, ADG; Col Sandford, CRE; Major Rowland Hill; Surg Major Sibthorpe'. Sitters named as follows: 'Dr J.L. Strachan Davidson (Master of Balliol); P. Guedalla; C[urzon]; R. Bevir (Pres); Prof A.V. Dicey; R.S. Rait'. Sitters named as follows: 'E.L. Horsburgh, Librarian; C. Arnold-White, Treasurer; B.R. Wise, Ex-President; H.C. Macleod; R. Dawson, Ex-President; Hon G.N. Curzon, President; E.T. Cook, Ex-President; R.A. Germaine, Ex-President. Absent F.W. Newland, Sub-Treasurer; F.S. Webster, Secretary; A.H. Hardinge; Hon W.W. Palmer'. Sitters named as follows: 'Ghulam Hussein (Peon), Partap Singh (Sowar), Ram Dass (2nd Clerk), Mool Singh (Camp Clerk), Maya Dass (Vernacular Record Keeper), Devi Dial (Accts Clerk), Miran Bux (Accts Clerk), Abdul Aziz (Revenue Clerk), Hari Chand (Munshi), Khalil ul Rahman (Head Munshi), Amar Nath (Accountant), F.J. Waller (SDO, Ara), TBT [Tate], W.G. Yeaman (SDO, Kirana), Raj Kaur (Head Clerk), Nur ul Haq (Ahtmad)[?], Ganesh Dass (Jumodar), Sant Singh (Naib Munshi), 'Taffy', Ram Chand (SD Clerk, Kirana)'. Sitters named as follows: 'Hadow Harris, Patron, KU; Ali Mohd, President, KU; Mrs Campbell; Madan Gopal [and] R.K. Kapoor (Hindu College Delhi Team Winners)'. A dedication on the reverse reads: 'To Mrs Campbell, with compliments from Ali Mohad, President, Khyber Univers[ity], 11.2.42'. Sitters named as follows: 'J.A. Hamilton; Hon G.N. Curzon; C.A. Spring-Rice; W.F. Farrer; B. Scott; C.E. Dawkins; M.T. Tatham; E.A. Upcott; R.W. Simpson; C.A. James; A.O.F. Shaen; G. Levesson-Gower; A.T. Bright; W.K. Brown; A.H. Hardinge; T.C. Farrer; A.J. Chitty; W.H. Forbes; A.L. Smith; A.J. Grahame; F.C. Montague; A.H. Fox-Strangways; H.W. Fowler; A.C. Grant-Duff'. Sitters named as follows: 'J.M. MacPherson, Esq, CSI, Secretary; The Hon'ble Mr J.O. Miller, CSI; HE Genl Viscount Kitchener of Khartoum, GCB, OM, GCMG, GCIE, Commander-in-Chief in India; The Hon'ble Major-Genl C.H. Scott, CB, RA; The Hon'ble Mr W.L. Harvey, CIE; The Hon'ble Dr Rash Behari Ghose, CIE, DL; The Hon'ble Mr H. Erle Richards, KC; HH. the Lieut-Govr of the Punjab, Sir L.W. Dane, KCIE, CSI; HE The Right Hon'ble Sir Gilbert John Elliott, Earl of Minto, PC, GCMG, GMSI, GMIE, Viceroy and Govr-Genl of India, President of the Council; The Hon'ble Munshi Madho Lal; The Hon'ble Sir Harvey Adamson, Kt, CSI, ICS; The Hon'ble Mr J.S. Meston, CSI'. Sitters named as follows: 'J.St L. Strachey; K. Brown; J.A. Hamilton; E.F. Grouse; F.W. Pember; C.A. James; C.E. Dawkins; Hon G.N. Curzon; Abol Kassen Khan; A.J. Chitty; C.J. Jessel; A.L. Smith; W.K. Richardson; S. Breasley; H.C. Beeching; R.W. Simpson; T.R. Walsond; M.T. Tatham; S.H. Walsond; J.W. Mackail; A.H. Fox-Strangways; W.F. Farrer; B. King; W.H. Forbes; H.Y.B. Lopes; J.B. Lobbock'. Sitters named as follows: 'J.T. Haines; Lord W. Cecil; Hon G.N. Curzon; Hon G. Jolliffe; Lord Pakenham; E.B. Iwan-M�ller; Lord R. Cecil; J.A.R. Marriott; Viscount Cranborne; J.S.G. Pemberton; E.M. Wood; G.J. Talbot; E.C. Owen; Hon L. Brodrick; C.G. Lang; H.T. Bowlby'. Sitters named as follows: 'Sir Robert Hart; Sir E. Satow; Sir W. Anson, MP; Prime Minister of Nepal; C[urzon]; Dr H.T. Warren (Vice Chancr); Rt Hon C.S. Parker; Dr F. Raymond'. Sitters named as follows: 'Standing: Mr G. Cunningham, CIE, OBE, ICS, Private Secretary to HE the Viceroy; R.B. Bhagwan Das, MVO, Intelligence Bureau; Mr F.E. Sharp, Dy Commr of Police, Bombay; Lt Col A.E.J.C. McDowell, DIG of Police (B & O); Mr E.J. Rowlanson, Commr of Police, Madras; Mr P. Biggans, Supdt of Police (UP), Secretary; Mr S.T. Hollins, DIG of Police (UP); Mr P.C. Bamford, Depy Director, Intelligence Bureau; Lt Col G.H.R. Halland, CIE, Senior Supdt of Police, Delhi; K.B. Tasadduk Husain, MBE, Intelligence Bureau; Mr J.F. Cowgill, Intelligence Bureau; ADC to HE the Viceroy. Sitting: Mr J.M. Ewart, CIE, IG of Police, Punjab; Mr R.J. Hirst, IG, Bihar & Orissa; Sir Francis Griffith, Kt, CSI, OBE, IG of Police, Bombay; Hon Mr H.W. Emerson, CIE, CBE, ICS, Secy, Home Department; His Excellency the Viceroy; Sir David Petrie, Kt, CIE, CVO, CBE, Director, Intelligence Bureau; Mr J.H. Adam, OBE, IG, NWFP; Mr T.J.A. Craig, IG, Bengal; Mr T.P.M. O'Callaghan, IG, Assam'. Sitters named as follows: 'Unknown, see last page [Clogstoun], W.H. Paget, see last page [Clement Smith and Clem Browne], C. Nicholson, C.P. Keyes, P. Lumsden, Sam Browne [22nd Sam Browne's Cav], J. Coke, B. Henderson'. A typed note opposite the print reads: 'Lieut Colonel (afterwards General) Sam J. Browne, CB, VC, was Commandant of the 2nd Punjab Cavalry from 8th January 1851 to 1865, when Captain T.G. Kennedy, Bengal Staff Corps, succeeded as Commandant on 8th February 1865. Colonel Kennedy was still Commandant of the Regiment in 1876. The July 1876 Army List shews[sic] him as 'on furlough''. Sitters named as follows: 'V. Heath; Hon R. Palmer; R. Bevir; Visct Midleton; J.S.G. Pemberton; H.T. Bowlby; Lord Montague; Mons Kennard; J.A.R. Marriott; Lord Lamington; Sir H. Bliss; W.W. Ford; E.M. Wood; Sir W. Worsley; C[urzon]; S. Herbert (Sec); Sir R. Mowbray; Lord Hugh Cecil, MP; Visct Wolmer, MP; Hon H. Lygon [?]'. Sitters named as follows: 'Viscount Curzon; E.C. Owen; C.L. Sclater-Booth; J.G. Pemberton; J.A.R. Marriott; Viscount Cranbourne; G.C. Bower; E.G. Mowbray; G.J. Talbot; A.T. Thring; W.W. How; W. Bromley-Davenport; Hon W. Cochrane-Baillie; P.M. Smythe; W.P. Burn; C.G. Kekewich; G. Sclater-Booth; Hon G.N. Curzon (Sec); R.R. Farrer; T.M. Macdonald; H.E. Boulton; H.F. Rawstone'. Sitters named as follows: 'W.S. Eastwood; G. Sclater Booth; Hon G.N. Curzon; M.J. Druitt; C.C. Mills; H.L. Mulholland; A. Haskett-Smith; A.H. Hardinge; H. St C. Feilden (Sec)'. Sitters named as follows: 'W. Worsley; S.F. Gedge; Northcote; Hon G. Jolliffe; E.M. Wood; Hon G.N. Curzon; J.A. Marriott; A.T. Thring; Lord R. Cecil; Hon S. Macdonnell; Hon L. Brodrick; E.B. Iwan-M�ller; C.G. Bower; C.L. Sclater-Booth; Lord Pakenham; Viscount Cranborne; A.C. Clark; G.J. Talbot; J.T. Haines; J.S.G. Pemberton; G.C. Owen; R.St J. Ainslie'. Sitters named as follows : 'Yarde-Buller, Keighley, Knox, Wigram, Stanley, Mortimer, Adam, Baker-Carr, Fenn, Lindsay, Baring, Poynton, Berger, Lee'. Sitters named below the print: 'Capt Monckton, RA; Miss S. Muir; Mr Brough, RA; Miss Potts; Mr MacCleverty; Miss Shakespeare; Mrs Gompertz; Miss L[?]; Mrs Macintire; Capt Gompertz; Miss Muir; Miss Macintire; Col Macintire'. Sitters named below the print: 'Col Scott, Dr Ranking, Mrs Orr, Mary Scott, Mrs Scott, Genl Barton, Sir R. Meade, Lady Barton, Miss De Bedisco, Miss Scott, Mrs Ranking, Miss Bedisco, Lady Meade, Miss Barton, P.G.F. [Patrick Gerald Fitzgerald], Capt Shafto, Miss Garstin, Miss Ranking, Dr Orr'. Sitters named in accompanying modern list: 'Front Row: Gainsford, Rouse, Saunders, n/k [not known], n/k, D.C. Lal, Sant Singh, B.Y. Ali, Waryam S., W. St.L. Hodder. Sitting: Senior, A. Aziz, Waite, R.W. Sanderson, Ewart, Isemonger, Cocks, Adam, Perrott, Hamidulla, Ryall, Toms, Prance. Third Row: Joyce, Brar[?], Slattery, n/k, Bennett, Mohd Said, Harding, Unitt, n/k, Connor, Miraj ud Din, Scroggie, Newman. Fourth Row: Mauger, Smith, Jeffreys, McCrea, Russell, Hale, n/k, Holliday, n/k, Wagstaffe, Chaudhri, Harnam S., de Gale, Wace. Back Row: Hill, n/k, Everett, n/k, Hopkins, Scott, n/k [x5], W.D. Robinson, Bassett, Fryer'. Sitters named in a letterpress caption: '[Standing] Capt Lord Francis Scott; Col Crooke-Lawless; Major S.F. Bayley; Capt Gibbs; Mr Butler; General Des Voeux; Col Dunlop Smith; Lieut R.J. Macnabb; Capt R.G. Jelf; General Drummond; Colonel Grimston; Capt D. LeG Pitcher. [Seated] Lady Eileen Elliot; Nawab Nasrullah Khan; Her Excellency; HH the Begum; The Viceroy; Countess of Antrim; Capt Obeid-ullah Khan; Mrs Bayley; Hon Col H. Daly'. H. Daly is Sir Hugh Daly, Agent to the Governor-General, Central India, 1905-10. Sitters named in a letterpress caption: '[Standing] Capt Lord Francis Scott; Mr T.B. Copeland; Col Crooke-Lawless; Mr P. Hannyngton; Capt B.G. Peel; Lt Fraser. [Seated in middle] Mr S.H. Butler; Mrs Fraser; The Viceroy; Her Excellency; Hon Mr S.M. Fraser; Countess of Antrim. [Seated in front] Col Victor Brooke; Capt Evelyn Gibbs; Capt R.G. Jelf; Col J.R. Dunlop Smith'. Sitters named in a letterpress caption below the print: '[Standing] Mr Hammond, CS; Major G. Fielding; Mr Lyall; Mr Graham, CS; Lieut-Colonel Crooke-Lawless; Raji; Capt Rivers Bulkeley; Lieut-Colonel F.L. Adam; Capt Mackenzie; Sirji Babu. [Seated] Lady Eileen Elliot; The Viceroy [Earl of Minto]; Maharaja of Cooch Behar; Her Excellency [Countess of Minto]; Lieut-Colonel Dunlop Smith'. Sitters named in Print 25. Sitters named on mount: '1. Lala Jagat Ram. 2. R.B. Duni Chand. 3. Lala Bishan Dass. 4. R.B. Sain Dass. 5. J.M. Dunnett, Esq, CIE, ICS. 6. Lala Ratan Chand. 7. Lala Tilok Chand. 8. Mian Firoze Din. 9. Mian Hissam Din. 10. K.S. Budhe Shah'. Sitters named on mount (modern key on reverse): '1. Mr C. Bayley [this is actually Mr Lushington], 2. Col H. Norman, 3. Sir H. Durand, 4. Mr Lushington [this is Mr Bayley], 5. Col R. Strachey, 6. Mr N. Taylor, 7. Sir C. Trevelyan, 8. Sir H. Rose, 9. Lord Lawrence, 10. Lord Napier, 11. Sir H. Maine, 12. Sir Grey'. Sitting to the left of Sir Charles Aitchison is the Tikka Sahib, Balbir Singh. and standing behind the chair are Capt W. Dennys and J.R. Dunlop Smith. The location of the durbar is uncertain, although a modern note on the reverse gives it as Lahore. Sivaji Chhatrapati, Maharaja of Kolhapur. Studio portrait. Full-length standing, right hand resting on a table. This photograph was taken in the same studio as Print 1 and is therefore most probably by Bourne & Shepherd. Six prints, informal portraits of Indian Police colleagues, identified as follows: Munniandi Pillai (Dy. S.P., Chidambaram), M.D. Ebenezer (D.S.P., Ramnad), Bhaskaran (D.S.P., Madura South), Syed Ibrahim Shah, Vijaya Rangam Naidu (D.S.P., Tinnevelly), Kandaswami (D.S.P., South Arcot). Six prints, informal portraits of the club sweeper, police driver standing beside car (dated 14 September 1947), car orderly Kamatchi Naidu, two portraits of a young child and a portrait of an Indian Christian wearing several crucifixes. Six snapshots: two of General Monro on horseback, two standing in the garden of Flagstaff House with Lady Monro, a view of the Durbar Memorial and a view of St James's Church, Delhi.[Gelatin silver prints, various sizes]. Six snapshots: view of a house (Dukani?) at Mashobra, portrait of uniformed servant, Major Muir and Colonel Fleming seated in a tent, the C.-in-C.'s train, two groups at an unidentified wedding. Six snapshots. Three record the departure of Jack Marten from Nagpur, one a picnic at Chitrakot Falls, Bastar, one an informal portrait snapshot of four women and the last Sir Montagu and Lady Butler with the Minor Chief of Khanker.Gelatin silver prints]. Skrine and two Indian servants beside a lake, possibly in the Nilgiris.[Gelatin silver print, 113x138mm]. Slightly blurred snapshot. Slightly more distant view than print 220, showing more of the house, with the Raja of Sikkim's son and his wife standing in front of the verandah. Small, indistinct full-length portrait, taken on the same occasion as print 54. No information on sitter.[Albumen print, 63x68mm]. Small, indistinct full-length portrait of Mrs Rivett Carnac; (?)wife of Sir John Rivett Carnac (1818-1883). Photograph taken on the same occasion as print 53.[Albumen print, with light hand-colouring on flowers at right, 77x78mm]. Small, poorish quality snapshot.[52x35mm]. Small, poor-quality copy of a photograph of a head and shoulders profile portrait, with pencilled note on mount by Lady Curzon, as above. Small, rather indistinct snapshot. Small, square format print. Small faded print. Small faded print. Small faded vignette print. Small format print. Portrait of potter, with examples of Hala pottery. Small group of British and Indian police officers, identified as follows: (back row, standing): [unidentified]; G.P. Sanderson; V. Short; Mohd. Azam Khan; Lowis; (front row, seated): H. Vickers; Garrod; H. Lilley; G. Herdon; K. McCrea. Small half-length portrait. Small half-length portrait of Jessie and Marian Murray. Small half-length portrait of Jessie Murray (b.1849). Small head and shoulders oval carte-de-visite portrait of Maharaja Sir Jang Bahadur (1816-77), Prime Minister and Commander-in-Chief, Nepal 1846-77. Small head and shoulders portrait of unidentified child. Small oval print; European group standing at edge of lake. Small oval print. Small oval print. Small oval print. Small poor quality snapshot. Small print, cropped into a circle. Small print, cropped into a circle. Small print, cropped into a circle. Small print, cropped into a circle. Small print, cropped into a circle. Small print, probably of a polo pony. Small snapshot, distant. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot. Small snapshot of Storrs standing beside the barrel of a cannon. Sir Ronald Henry Amherst Storrs (1881-1955) entered the Egyptian Civil Service in 1904. This photograph was probably taken when he visited Baghdad as Assistant Political Officer to the Anglo-French political mission of the Egyptian Expeditionary Force. Small snapshot of woman standing in a garden. Small snapshot portrait. Small snapshot portrait. Small snapshot portrait of Frank Ludlow and Frederick Marshman Bailey seated at a camp table. Small snapshot portrait of Samuel Swinton Jacob. Small three-quarter length hand-tinted portrait. Small vignette of John Murray with his daughter Carrie and a hookah. Snaphot portrait, in an English garden, with dogs. Snapshot, slightly blurred. Snapshot, slightly distant, of Sir Harcourt Butler and Sir Asutosh Mookerjee (1864-1924), Vice-Chancellor of Calcutta University 1906-14, in conversation.[Silver printing-out paper, 106x81mm]. Snapshot.[61x104mm]. Snapshot. Priest standing in front of tower of the Mahabodhi Temple. Snapshot (slightly blurred) showing Younghusband running in a race on the deck of a ship.[Silver printing-out paper, 114x90mm]. Snapshot at Ramgarh? Snapshot fo Tip Htila, Princess of Keng Tung, with attendants in the durbar camp.[Gelatin silver print, 119x93mm]. Snapshot group, with figures identified on reverse as follows: (left to right): Capt. Rasack, Tony Hobbs, H.L.S. [unidentified lady], Colonel Hobbs, D.F.S. [Doris Skrine], Major Wyborne.[Gelatin silver print, 103x60mm]. Snapshot group of football team. Snapshot group of guests at picnic.[Silver printing-out paper, 103x78mm]. Snapshot group portrait, similar to print 23. Snapshot group portrait (poor quality, unsharp). Snapshot group portrait of European and Indian staff. The following are identified: Harrison, Corbett, Faulconer. Snapshot group portrait outside the cricket pavilion. Snapshot in garden. Snapshot looking along the track from the back of an elephant. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 58x104mm]. Snapshot of a couple in a garden. Snapshot of a group of young schoolchildren. Snapshot of a group some of whom are named in a modern list: 'Back row - standing. Walker; Finnis?; Pott, Drake [both sitting]; Wright; Jeff Alexander; Mrs Vigors?; Bung McLeod. Middle row - sitting. George Cunningham; AB [Alexander Brebner]; Walter Leslie. Front row - sitting. Mrs (Lady) Cunningham; Miss Emily Wood (Viceroy's niece); Richard Wood; Lady Worsley; Lord Irwin; Arthur Lee; Lady Irwin; Henry Pieikle'. Snapshot of Allan Noble, ADC to Lord Linlithgow, holding a camera. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x58mm]. Snapshot of an unidentified couple feeding the monkeys.[Gelatin silver print, 130x86mm]. Snapshot of an unidentified Shan prince with attendants in the durbar camp.[Gelatin silver print, 119x93mm]. Snapshot of a picnic scene. Snapshot of a snake charmer performing for E.H. Faulconer and P.J. Corbett. Snapshot of Avery holding his trout. Snapshot of a woman seated in a wicker chair, presumably taken on the same occasion as print 10c.[118x91mm]. Snapshot of a young girl. Snapshot of bride and groom. Snapshot of Charles Duke and an unidentified Indian, seated on shooting sticks, with guns. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 105x60mm]. Snapshot of child with dog (Bunting Dane's goddaughter). Snapshot of Colonel and Mrs Ranken seated in trap.[Silver printing-out paper, 101x71mm]. Snapshot of Edgar Wilson with his two daughters in front of a tent. Snapshot of Edith Mary and Francis Stephen Bowring dressed up as nuns.[Silver printing-out paper, 78x102mm]. Snapshot of European group posed beside car. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 58x104mm]. Snapshot of figures in conversation with Bell. Snapshot of four figures. Snapshot of Frank Ludlow seated at a table in front of the bungalow. The photograph appears to have been taken on the same occasion as print 144. Snapshot of gardener watering plants. Snapshot of George Waight posed with the dead tiger. Snapshot of group in front of Observatory House. The figures are identified as: 'Hilly', Desmond Millar, Peter Borwick, Charles Duke. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 107x61mm]. Snapshot of group lying on lawn. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 107x60mm]. Snapshot of group on hillside.[Silver printing-out paper, 94x66mm]. Snapshot of group on horseback in front of Government House, Maymyo; enclosed in a letter of 19 September 1925 from Sir Harcourt Butler to his mother.[Gelatin silver print, 95x70mm]. Snapshot of group posed in front of Russian frontier post building. Three of the figures are identified as Sir A. Hardinge (Sir Arthur Hardinge, Minister at Tehran 1900-05), Churchill and Sykes (Sir Percy Molesworth Sykes, Consul-General, Khorasan).[102x78mm]. Snapshot of group posed in park.[Gelatin silver print, 80x54mm]. Snapshot of guests in conversation. Snapshot of Hinchcliffe and two Europeans in a garden. Very poor quality.[76x100mm]. Snapshot of Hugh Stable and Lady Anne Hope. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 106x60mm]. Snapshot of Indian man and boy standing at roadside. Snapshot of Indian rulers attending a garden party. Snapshot of Johnston and Indian figues standing beside a drinks table in the forest. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 104x59mm]. Snapshot of Keyes standing beside a pony.[102x77mm]. Snapshot of Lady Linlithgow and Donald Ross out hunting with bearers. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 60x104mm]. Snapshot of Lady Linlithgow being carried in a dhoolie by Hugh Stable, Willie Goschen, Donald Ross and one unidentified figure. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 111x77mm]. Snapshot of Lady Linlithgow seated on shooting stick with gun. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 60x107mm]. Snapshot of Lady Maud Warrender standing on the deck of a ship or boat, probably on the same occasion print 3 was photrographed. Snapshot of Lady Minto talking to Colonel Victor Brooke. In the background the Viceroy Lord Minto is talking with Sir Francis Maclean, Chief Justice of Bengal. Snapshot of Lieutenant Terence Hamprey Keyes with three dogs, standing on the Consulate tennis court.[102x76mm]. Snapshot of Lloyd Jones and his dog seated on a railway trolley. Photograph possibly by Dr Edmund Henderson Hunt.[Silver printing-out paper, 94x68mm]. Snapshot of Lord and Lady Linlithgow and Gilbert Laithwaite seated on ground with remains of picnic lunch.[Gelatin silver print, 63x83mm]. Snapshot of Lord and Lady Linlithgow and Hari Singh, Maharaja of Kashmir, walking in the Shalimar Bagh.[Gelatin silver print, 79x52mm]. Snapshot of Lord Linlithgow shooting.[Gelatin silver print, 62x84mm]. Snapshot of luncheon group in garden of Government House. Lord and Lady Minto seated in the centre. The remainder of the page is occupied with the signatures of the of the guests. Snapshot of Mary Ramsden standing in garden. Snapshot of mother and two children in the garden of a bungalow. Snapshot of Mrs Ada Ranken seated in front of tent advertising 'Fresh and Clean' drinks and food.[Silver printing-out paper, 103x72mm]. Snapshot of Mrs Ada Ranken standing beside a tonga. The note 'Major Kennedy' beneath the print possibly refers to the photographer.[Silver printing-out paper, 101x72mm]. Snapshot of Mrs Amoore reclining in a dandy carried by uniformed bearers, with Mr Amoore standing behind. Henry James Amoore was an executive engineer in the provincial Public Works Department, stationed at Naini Tal in 1922. Two copies: original and modern print.[Gelatin silver print, 134x80mm]. Snapshot of portrait group at Gulmarg.[Silver printing-out paper, 75x103mm]. Snapshot of Sie Clarmont Skrine walking in the garden in front of a house at Tajrish, north of Tehran, with mountains in the background.[Gelatin silver print, 134x99mm]. Snapshot of Sir Francis Humphreys, Minister Plenipotentiary at Kabul, in conversation with the Amir of Afghanistan, Amanullah Khan, at an official function. Snapshot of Sir George Scott and another unidentified European seated in the howdah of a kneeling elephant.[Gelatin silver print, 120x95mm]. Snapshot of the three ladies seated in the garden. Snapshot of the Wilberforce-Bells and friends, including Arnott (4th Gurkha Rifles); Miss Herbert; Mackenzie; Mrs St John; Col St John. Snapshot of three figures.[Gelatin silver print, 88x116mm]. Snapshot of two children.[99x75mm]. Snapshot of two figures in front of bungalow. Snapshot of two girls posed on a flight of steps. Snapshot of two priests. Snapshot of Watson seated at a desk writing.[94x71mm]. Snapshot portrait, in garden. Snapshot portrait, posed on deck of ship or boat, leaning against rail. Snapshot portrait, possibly taken by Younghusband himself, showing his Turgan standing in the garden of the Residency at Srinagar.[Silver printing-out paper, 80x103mm]. Snapshot portrait, seated in a chair with a doll. Snapshot portrait, seated in garden with dog. Snapshot portrait, showing Winifred Cooper standing on the deck of a boat. Snapshot portrait, standing beside horse. Snapshot portrait, taken in the garden. Snapshot portrait, unsharp. Snapshot portrait, with sitters as identified in caption.[Printing-out paper, 101x71mm]. Snapshot portrait.[105x80mm]. Snapshot portrait.[79x104mm]. Snapshot portrait.[Gelatin silver print, 100x75mm]. Snapshot portrait.[Gelatin silver print, 82x55mm]. Snapshot portrait. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 103x59mm]. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait. Snapshot portrait fo four mounted figures, three of whom are identified: Harvey Kelly , Fennel and Mitchell.The fourth figure appears to be Bailey. Snapshot portrait group, duplicate of Photo 1038/3 (). Mr and Mrs Petley are to the right of the elephant, Hinchcliffe next to them.[97x74mm]. Snapshot portrait group, evidently taken on the same occasion as print 38, and with figures identified as follows: (left to right): Capt. Rasack, Indian Army; Lieut. Hobbs; H.L.S.; Col. Hobbs; Doris [Skrine]; Capt. Pennell R.E. In front of the group sits a puppy found abandoned by Doris Skrine and adopted by Captain Rasack.[Gelatin silver print, 102x60mm]. Snapshot portrait group. The following figures are identified. Nurse Jones, [Sir Percy Molesworth] Sykes (Consul-General, Khorasan), Mrs [Lady Evelyn] Sykes, J.W. [John Williams Watson], Frank [child], and Redl. [?][72x100mm]. Snapshot portrait in a garden. Snapshot portrait in garden. Snapshot portrait of 'Mary J., Arthur J. [and] Swinton'. Snapshot portrait of a baby in England. Snapshot portrait of a camp servant? Snapshot portrait of a chuprassi. Snapshot portrait of a European woman sitting in a chair. Snapshot portrait of a man and dog. Snapshot portrait of Arthur Jacob, son (?) of Sir Samuel Swinton Jacob. Snapshot portrait of a tea picker, slightly blurred. Snapshot portrait of a Tibetan youth. Snapshot portrait of a very tall man standing on a jetty at Rangoon. Snapshot portrait of a woman on horseback. Snapshot portrait of a young European girl. Daughter of W.H. Nightingale? Snapshot portrait of a young Tibetan boy. Snapshot portrait of B.C.B. Pemberton, a tea planter, walking with his son Ian.[81x108mm]. Snapshot portrait of bride and groom. Snapshot portrait of Charles Henry Dudley Ryder (1868-1945) and his wife Ida Josephine, standing on a verandah with a dog (Jennie). Pencilled note on reverse of print reads: 'I joined the Survey of India Jan. 1897. Posted to No. 19 Party (under Capt. C.H.D. Ryder). He was afterwards Surveyor-General. I was with him in Pekin China Expeditionary Force. He had then just done a fine reconnaissance journey from India and Burma to the Upper Yangtze River China.[Silver printing-out paper, 84x142mm]. Snapshot portrait of Clarmont Skrine standing with three Indians.[Gelatin silver print, 159x101mm]. Snapshot portrait of Cornelia Sorabji (1866-1954), Indian lawyer and social reformer, standing beside a pony buggy.[71x57mm]. Snapshot portrait of Donald Ross. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 59x103mm]. Snapshot portrait of Duke with gun. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 60x104mm]. Snapshot portrait of Duke with gun. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 60x105mm]. Snapshot portrait of Edith Mary Bowring (b. 1876), daughter of Lewin Bentham and Katharine Bowring, with the dog Quilp.[Silver printing-out paper, 96x70mm]. Snapshot portrait of Edward Molyneux and two young ladies in a garden.[Printing-out paper, 71x100mm]. Snapshot portrait of Eric Ashley Evanson (b. 1890) of the 17th Dogra Regiment, seated at a table in front of a bungalow at Phari. Snapshot portrait of European group at the durbar.[Gelatin silver print, 120x95mm]. Snapshot portrait of F.D. Stewart and B.T. Petley, posed in the open air (?at Moda).[Printing-out paper, 95x72mm]. Snapshot portrait of family group in garden. The sitters are Charles Frederick and Mary Hunter, their daughter Frances, and Mary Hunter's parents J.J. and Nellie Brown.[Gelatin silver print, 59x103mm]. Snapshot portrait of four figures, including the Jongpon of Taklakot. Snapshot portrait of four staff members.[87x70mm]. Snapshot portrait of Francis Stephen Bowring (b. 1878), son of Lewin Bentham and Katharine Bowring, seated astride a bicycle.[Silver printing-out paper, 76x100mm]. Snapshot portrait of Frederick Marshman Bailey, his wife Irma and Frank Ludlow picnicking, probably at Srinagar. Snapshot portrait of Gilbert Laithwaite, seated on a rock writing.[Gelatin silver print, 63x83mm]. Snapshot portrait of group. Snapshot portrait of Hamilton and Brooke in front of tents inside the fort at Kashetu.[Platinum print, 100x74mm]. Snapshot portrait of Henry Hinchcliffe seated in a garden, holding a shotgun.[93x71mm]. Snapshot portrait of hunting group (Lord and Lady Linlithgow, Viceroy's staff and Rana of Dhama) with bag of birds shot.[Gelatin silver print, 110x78mm]. Snapshot portrait of Ian Pemberton sitting on a lawn with an Indian child.[108x81mm]. Snapshot portrait of Indian man standing in garden.[Silver printing-out paper, 79x102mm]. Snapshot portrait of Lewin Bentham Bowring seated working in his study.[Silver printing-out paper, 120x94mm]. Snapshot portrait of Lord and Lady Linlithgow with the Rana of Dhami, posed with their bag after the shoot.[Gelatin silver print, 111x79mm]. Snapshot portrait of Lord Linlithgow in the Shalimar Bagh.[Gelatin silver print, 52x82mm]. Snapshot portrait of Ludlow in camp in the Sind Valley with two dogs. Snapshot portrait of minor chiefs of Jaisalmer and Dungarpur who met the Viceroy at Ajmer on the morning of the 19th November, 1902. Snapshot portrait of Mr and Mrs Mackay standing in the porch of a bungalow (presumably railway staff accommodation). The figures are too distant to be distinct.[Gelatin silver print, 77x101mm]. Snapshot portrait of Mrs Bellasis, wife of Edward Bellasis and mother of Lewin Bentham Bowring's second wife Katharine, with the young girl Agnes (?Bellasis).[Silver printing-out paper, 66x97mm]. Snapshot portrait of Rev. Storrs-Fox. Snapshot portrait of Rev. Storrs-Fox beside Sind River. Snapshot portrait of Rev and Mrs Storrs-Fox. He wears Boy Scouts uniform. Snapshot portrait of Rev and Mrs Storrs-Fox. Snapshot portrait of Rev Storrs-Fox. Snapshot portrait of Rev Storrs-Fox standing in his garden. Snapshot portrait of Shaw, standing on a balcony, taken on the same occasion as prints 147 and 149. Snapshot portrait of Sir Bertand Glancy, 'Bunty', Lady Anne Hope and Hari Singh, Maharaja of Kashmir. Photograph uncredited, but probably by Laithwaite.[Gelatin silver print, 62x106mm]. Snapshot portrait of Sir James Du Boulay sitting against a tree. Snapshot portrait of Sir Louis and Lady Dane in the garden. Snapshot portrait of Soole smoking a long Burmese cheroot, taken on the same occasion as print 62.[Printing-out paper, 29x69mm]. Snapshot portrait of Sydney Frederick Muspratt and a second unidentified man, standing at the water's edge with their guns.[Silver printing-out paper, 74x100m]. Snapshot portrait of the Bishop of Lahore. Snapshot portrait of the elderly lady identified only as 'S.N.' Snapshot portrait of the French Orientalist and traveller Alexandra David-Neel standing in a courtyard in front of the dak bungalow at Gyantse. See Photo 743/4(29), for another copy of this print, with the location identified. Snapshot portrait of the parkers standing at the entrance to a house. Snapshot portrait of the three men standing in a garden, probably at Moda. Plunkett is probably P.E. Plunkett of the Burma Forest Department, with H. Walker, a member of the Forest Staff of Steel Bros. & Co.[95x74mm]. Snapshot portrait of the two children in a garden.[Silver printing-out paper, 94x70mm]. Snapshot portrait of the two women. Snapshot portrait of the two women in the garden of Boat House. Snapshot portrait of three figures on a hunting trip seated in front of a tent. The 'self' in the centre is Richard Morris Dane and notes on the back ofd the print indicate that this was used as an illustration in his Sport in Asia and Africa (1921) [unchecked]. Snapshot portrait of three Indian servants in front of a bungalow.[Gelatin silver print, 77x102mm]. Snapshot portrait of three ladies in the garden. Snapshot portrait of two clergymen. Rt Rev Eyre Chatterton (1863-1950) was Bishop of Nagpur 1903-26 and served in Mesopotamia during the First World War. Snapshot portrait of two Indian women standing in a garden. Snapshot portrait of two men. Snapshot portrait of two unidentified army officers with two young women possibly in nursing uniform, found loose in guest book belonging to Sir William Ovens Clark (1849-1937), Indian Civil Service 1871-1909, Chief Judge of the Chief Court of the Punjab 1898-1909. Snapshot portrait of two unidentified women. Snapshot portrait of Willy Goschen, an ADC to Lord Linlithgow, standing in long grass with gun. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 60x108mm]. Snapshot portrait of woman identified as 'C.N.' Snapshot portrait of woman identified only as 'M.J.N.' Snapshot portraits of Rawdon Macnabb on horseback, views of thre Macnabb's house and garden, panoramic view of Kolhapur composed of five joined prints, taken from the Macnabb house, visit to the Ambabai Temple. With one professional quality portrait group (print 90) taken at the Kolhapur Races and showing the Maharaja of Kolhapur Sir Rajaram Chhatrapati and family with Colonel O'Brien, Rawdon Macnabb and Captain Rivett-Carnac. Snapshot showing Charles Duke (ADC to Lord Linlithgow) standing among figures reclining on the lawn of Observatory House. Photograph uncredited, but probably by Gilbert Laithwaite.[Gelatin silver print, 106x60mm]. Snapshots of a group of riders. Snapshot view. Snapshot view. Snapshot view of a European group including a couple sitting on a camel. Snapshot view of Lord Jellicoe arriving at Bombay. Snapshot view of party on the steps of the station. Snapshot view of the Hardinge's and guests on the lawn. Snapshot view of the Maharaja on horseback. Snapshot view probably by or of Constance Villiers-Stuart. Snsapshot of two children. Social group posed on the bank of the River Cam. Soldier on horseback, holding bugle to lips.[Albumen print, 376x306mm]. Soldiers and bandsmen round a placard which reads: ''H' or Major G.H. Ford-Hutchinson's DSO. Company. The Connaught Rangers'. Officers Lieut F.F.I. Kinsman, Major G.H. Ford-Hutchinson and Lieut H.W. Bell are identified. Soldiers marching.[Albumen print, 378x303mm]. Soldiers on parade, with military band to the fore. Print in poorish condition, with overall spotting.[Albumen print, 383x312mm]. Soldiers on parade.[Albumen print, 96x76mm]. Soldiers on parade. Print in poor condition, with overall spotting.[Albumen print, 370x308mm]. Soldiers posed on highway, with military band to the fore. Print in poor condition, with overall spotting.[Albumen print, 380x312mm]. Soldiers posed on highway. Print in poorish condition, with overall spotting.[Albumen print, 381x310mm]. Some individuals are named as follows: 'Pepys (ADC), Lloyd (ADC), Thorburn (Surgeon), Wardle (ADC), Woolridge (Political Dept.), Colonel Harvey [Military Secy.], Self, Lord Irwin, the Nawab of Maler Kotla, Mr.Fitzpatrick [AGG, Panjab States], Mr.Cunningham [Private Secretary], R.B.Gyan Nath'. Some individuals in the group are named as: 'Col Herbert, Irwin, Khetri, Richardson [and] Mrs Jacob'. Another print with a fuller list of names is at Photo 448/3 (57). Some individuals named as follows: 'Gyan Nath, Lloyd, Harvey, Pepys, Thorburn, Wadle, Cunningham, Sir Zulfikar Ali Khan, Self, Mrs.Fitzpatrick, Lord Irwin, the Nawab, Lady Irwin, Fitzpatrick, Miss Wood. Some named on mount. Some sitters are named in an accompanying list: Back Row - Mohammed Anwar Khan (6th from left). Standing - Gurdial Singh, Sergt McReady, Nizam Khan, Mohammad Khan. Sitting - Seward, Wood, Robins, Zia-u-din Afzal, W.H.A. Rich, Wagstaffe, H.O. de Gale (Principal, PTS, Punjab), R. Powell (Principal, PTS, UP), Smith, Siraj-ud-Din, Handu, Sardar Singh, Tidy. Front Row - Balwant Singh, Qazi Ata Mohammad. Some sitters are named in an accompanying list: Sitting on ground - Farmer, Sutton. Sitting on chairs - Jameson, J.A. Scott, Sanderson, Slesser, Waite, Ewart, Slattery, Jeffreys, Perrott, Plumb, J.A. Scroggie, du Heaume, Bassett, Hill. Middle Row standing - Sant Singh, R.S. Chuni Lal, A.R. Sahney, Kilburn, B.S. Bindra, Qurban Ali, Morton, Ghulam Ahmed, W.H.A. Rich, Uwitt [?], Hopkins, Boodrie, R.F. Neal. Back Row - Ishar Das, E.S. Garrod, Gurdial Singh, Rouse, Russell, B.Y. Ali, Abdul Ahad, L.V. Deane, H.D.M. Scott, W.D. Robinson, K.I. McCrea, R.I. Hallows, Gainsford, Abdul Qayyum, Leake. Duplicate at Photo 410 (5). Some sitters identified in annotations on verso: 'Seventh from left is Sir George Schuster, Finance Member of the Viceroy's Council. Fourth from the right is John B. Shearer, Under-Secretary. William Christie, 6th from right, front row'. Duplicate at Photo 869 (1). Some sitters named in an accompanying list: Standing left to right - J.G. Hogan, A.C. Blunden, D. Pilditch, G. Waddell. Sitting left to right - J.C. Weymouth, R.S. Bell, J.L. Stronach. Some sitters named in pencil annotations below the print: 'Mrs Kennedy, nee Miss Harris; Capt Leigh Hunt; Mrs Bullock; Major Campbell; Capt Sewell; Miss Cowan; Capt Aylmer, RA; Mr Giles, 76th; Capt Wodehouse; Mrs Sewell; Capt Sawbridge, 2/24th; Mrs Wyllie; Mr James, RE; Mrs James?; Mrs Hallowes; Major Barton, 18th Hussars; [C.B. Saunders standing in centre at rear]; Mrs Erskine; Dr Law; Miss Alice Cowan; Major Pemberton; Major Wyllie; Ross; Mr Williams, 2/24th'. Special Branch staff, Madura. Staff and pupils under a sign which reads: 'Hitchcock Police School'. Standard bearer and five guards posed in front of building. Print in poorish condition, with overall spotting.[Albumen print, 309x380mm]. Standard bearer and two guards, on horseback.[Albumen print, 303x373mm]. Standard bearer flanked by two guards, on horseback.[Albumen print, 302x374mm]. Standard bearer posed in front of barracks, with standard unfurled.[Albumen print, 302x382mm]. Standing full-length studio portrait of two students.[Albumen print, 196x251mm]. Standing group, probably taken on the same unidentified occasion as print 14. The only identified figures are J.A. Scroggie (DIG), J.T.M. Bennett (IG), Ram Singh (SP) and G.M. Choudhri (Police Contractor). Standing group portrait view of the crew of the ship, in uniforms, on the rear deck of the ship. In the foreground, side view of a marine, in charge of a cannon. [Albumen print, 305x382mm]. Standing on steps in a garden (probably at Barnes Court, Shimla). Statue of Brigadier-General John Nicholson, posed with sword upraised, in a square in Lisburn. Stein and the French officer working at plane table. The fact that prints 391-394 are out of sequence, undated and do not have Stein negative numbers, suggests that they came from another source, perhaps Lieutenant Berthelot (the French captions of the following prints would appear to strengthen this supposition). Stereo half, duplicate of print 4.[Silver printing-out paper, 82x75mm]. Stereo half. 'The nobleman in this picture, with his right arm thrown over the shoulder of the figure on his right, is Nawaub Shumsh-ool-oomra, the Commander of the native troops at Hyderabad...The seated figure on his right is his grandson, that on his left his son...The Nawaub is a well educated and highly intelligent Mahomedan gentleman. In his youth he was celebrated for his attainments in the sciences, so far as he could learn them from Arabic books, and particularly in mathemathics. He is the author of some scientific tracts and commentaries on learned Arabic works. He has also designed buildings, and studied Mahomedan architecture...' Stereo half. 'This photograph represents Nawaub Salar Jung, in another costume, seated in the colonnade of his residence. His financial minister is seated on his right hand, on his left is his nephew.' Stereo half. Full-length portrait of an unidentified figure, seated on a verandah: 'This is the portrait of an eminent architect in Hyderabad, who has executed many works in that city, and also several public buildings at Secunderabad.' Stereo half. Full-length portrait of a young woman seated on a couch. Stereo half. Group portrait, posed on the steps of an unidentified building: 'In this view the officers are represented sitting in the centre, the privates standing on their right and left. Some of the privates are armed with carbines and swords, and some with lances and swords. The dress of the Irregular Cavalry is green, and consists of a long coat richly emvroidered with gold, tight trousers, and long boots, with the native turban, and black accoutrments.' Stereo half. Posed group of Indian infantrymen. Stereo half. Posed group of Indian officers and men. Stereo half. Showing the same woman seen in print 60, asleep on the couch: 'The inquisitive bright-eyed camera has here caught a lady enjoying her siests, and slumbering in happy unconsciousness of heat, insects, or any other of the sleep-dispelling plagues incident to the East.' Stereo half. Three-quarter length seated portrait: 'This person commands a small body of men in the Nizam's service. His peculiar-shaped turban is adorned with a species of discus characteristic of the Seikhs'. Stereoscopic portrait mounted on card and signed 'P.H.H.' in the negative. The full-length view shows the supposed Nana Sahib seated on a ledge in front of a building. A typescript note accompanying the print questions the identification: 'The 1874 photograph raises a problem, in view of the generally accepted statement that the fate of the Nana Sahib remains obscure after he found refuge in Nepal in January 1859. Malleson (vol III, 1880, p.297) records nothing beyond his flight into Nepal. H.N.R. 11.5.38.' A handwritten addendum records: 'Burgess, Chronology of Modern India 1494-1894, p.391:- 'A.D. 1874 Oct. 21:- A man supposed to be Nana Sahib captured at Gwalior by Maharaja Sindia: identity disproved'. This photograph may be the original for a portrait apparently reproduced in The Illustrated London news in 1874 (unchecked). Stereoscopic view. Group of three Indians and a European. 'These are very good likenesses of some Zemindar Minors with their instructor G.P. Fletcher, Esq., under whose care they have been placed by Government. Of these the Shevagunga Zemindar, the second figure at the right, has just attained his majority (Oct. 1859) and entered upon possession of his estate...' stereoscopic view. Portrait group, with Ramchandra Tondiman, Raja of Pudukkottai, seated at a table, with his officials gathered round him. Stereoscopic view. Portrait of Ramasawmy Iyah and three children. Stotherd's brother (?) and pony. Stotherd's brother (?) is sitting on the left. Stotherd's sister (?) on horseback in India. Stotherd's sister (?) with an example of her work, a carved wooden post. Students posed on climbing frames and other equipment in a quadrangle in front of the school.[Albumen print, 383x309mm]. Studio group portrait of an Indian family, mounted on card with photographer's signature, and inscribed on mount: 'Colonel H.E. Dyneley from K. Nursing Row, Bellary. Bellary - 13th Octr. 1886.' The sitters are presumably K. Nursing Row and family. Studio group portrait of officers of the King's Dragoon Guards. Younghusband is seated at the extreme left of the middle row.[Albumen print, mounted on card, poorish condition, 260x183mm]. Studio group portrait with Sher Ali Khan seated in the centre with Abdullah Jan, two other children and ten sirdars. Despite the numerical discrepancy, this would appear to be the photograph listed in the Baker & Burke catalogue as 'Group, The Amir. Prince Abdoolah Jan, and twelve Sirdars; (large figures)'. Possibly the two children (?sons of Sher Ali) are here counted as sirdars. An original caption note incorrectly identifies the central figure as Abdur Rahman Khan. Duplicate at print 75. Studio portrait, carte-de-visite size. Similar to Photo 430/74 (26). Studio portrait, in uniform, of Deputy Surgeon General John Henry Sylvester (1830-1903), Indian Medical Service (Bombay) 1853-75.[Albumen print, 65x100mm]. Studio portrait, Sophie seated on a bicycle. Studio portrait, with Kawlin Mintha and Tinda Minthami seated at left, the Dowager Minthami centre, children and an unidentified woman at right.[Printing-out paper, 197x149mm]. Studio portrait, with Saw Maung, Sawbwa of Yaunghwe in the Shan States, standing centre, wearing ceremonial robes and carrying a flywhisk, surrounded by his retinue. With two umbrellas held above his head. This photograph was probably taken at Delhi during the Durbar of 1902-03 (or in Calcutta while en route), which Saw Maung attended with other chiefs from Burma.[Gelatin silver print, 286x185mm]. Studio portrait. All named as follows: '[Standing] Lt Stewart, 5th P.C. [Punjab Cavalry]; Major Hughes, RA; Dr Tandy, 3rd Seikhs. [Sitting] Major Mocatta, 3rd Seikhs; Mrs Boisragon; Mr Young[?], CS; Mrs Hughes; Col Vaughan, CB, 5th P.I. [Punjab Infantry]'.[Albumen print, 197x170mm]. Studio portrait. Captain Brooke Rynd Chambers is sitting on a chair holding a book. His wife is standing on his left, leaning on his shoulder. Taken at the same location as prints 56, which is identified as being taken at Murree.[Albumen print, 143x191mm]. Studio portrait. Lady Curzon sits on a chair with her youngest daughter on her knee and her eldest sitting on a stool. This is possibly from the photo session at Government House, Calcutta, described by Mary Curzon in a letter to her family: 'Bourne & Shepherd, the photographers, came at 11.30 and took up the remainder of the morning taking photos of the babies and me' (p28 of Lady Curzon's India. Letters of a Vicereine. 1985, edited by John Bradley). Studio portrait. Studio portrait. Studio portrait in Bombay. Although unattributed this is probably by Narayen as the studio is the same as later prints by him. Studio portrait of an Indian family group, taken on the same occasion as print 52, but with sitters arranged differently . Inscribed on reverse, 'Colonel G.S. Hooper. From K. Nursing Row, Bellary, 13th October 1886.' Studio portrait of Beatrice Clementina and her younger twin sisters, Marion and Gertrude. They are holding photographs with other prints lying on the floor. Studio portrait of Emma Alice Margaret, 2nd wife of Herbert Henry Asquith, 1st Earl of Oxford and Asquith, with her daughter Elizabeth Bibesco. Studio portrait of four officers of the Punjab Police named as: 'Captain Sewell, Major Miller, Capt Wall, Major Mocatta'. Duplicate at Photo 211/1 (103), where the group is captioned 'Group of Punjaub Police, Upper Circle, at Lahore Exhibition 186-? [1864]'. The identifications suppliedin each print correspond.[Albumen print, 275x186mm]. Studio portrait of infant seated in the lap of an Indian nurse.. Studio portrait of Maung Tun Min, his wife and three children.[145x202mm]. Studio portrait of Saw Maung, Sawbwa of Yaughwe, seated on a carved wood chair, with the two women sitting on the floor on either side of him. Neither of the women appears to be the same figure as the woman identified as the Sawbwa's wife in print 19.[Gelatin silver print, 202x152mm]. Studio portrait of secretaries to the Government of India, the sitters identified beneath the print as: Sir A. P. Muddiman (Secretary, Legislative Department, afterwards President, Council of State 1920, Home Member 1923), S. R. Hignell (afterwards Private Secretary of the Viceroy 1919), Sir Henry Wheeler (afterwards Governor, Bihar and Orissa 1922), H. F. Howard (temporary Finance Member 1919). Studio portrait of the three men lounging informally on chairs. Studio portrait of three children. Studio portrait of three infantrymen. Print in poor condition. Studio portrait of three men, two are seated. Studio portrait with General Sam Browne (seated right), Col. H.F. Blair (seated left) and two other men identified on the verso as Nicholson and Paget. Surveying party at the summit of the Pembo La. Figures identified as follows: (Left to right): Ottley, Vernon Magniac (Younhusband's brother-in-law and private secretary), Ryder, Hayden. Swimming parties, hunting groups, picnics, etc.[Gelatin silver prints]. T.R.R.P. seated on horseback on a hill road, possibly at Dharmshala. Tableau group. Tableau vivant from an amateur dramatic production showing Miss Durand dressed as a nun. Tableaux studio portrait. Perhaps a scene from amateur dramatics. Tableaux vivant including W.H. Nightingale sitting on the right. Tableaux vivant with the following actors: 'Capt Gavin; W.H. Nightingale; G.K. Lyon, B.C.S.; Capt Rawlinson, A.D.C.; Miss Judge; Mr Phillips, R.A.; Miss Keighley; Capt Browne, 12th B.C.; Miss Baker; Mrs Lidderdale.' Tailor at work, seated cross-legged on the floor in the Buckingham's bungalow at Amguri. Stereoscopic print.[Albumen print, 156x85mm]. Taken in a hilly landscape. Taken on the same occasion as prints 167-8. Although credited to Major Walker, Walker himself appears in the photograph (seated on left). Kennedy seated on right. Faded print. Ta Lama seated, Tunyik Chempo standing beside him. Teague-Jones and Eric Ralph Lingeman (Commercial Counsellor, Tehran) standing in front of the car (Zobeida).[Gelatin silver print, 141x89mm]. Teague-Jones and two Indian soldiers, on horseback.[Gelatin silver print (modern print), 131x82mm]. Team photograph, with J.A. Scroggie seated centre and beside him Assistant Superintendent J.P. Morton. On Scroggie's other side sits Asghar Ali. No other figures identified. Team portrait, winners of the Burma Military Police Challenge Football Cup, with sitters identified as follows: L/N Dal Bahadur; N.K. Uchap Singh; N.K. Partab Shama; L/N Manshor; N.K. Chandar Bahadur; S. Ransur Rai; N.K. Bholanath; Hav. Chandarbir; Major Browne; S. Harkabahadur; Hav. Narbahadur; L/N Har Kabahadur Lama; S. Jagatbahadur.[154x111mm]. Team portrait, with Wilberforce-Bell seated in centre and other figures identified beneath print as follows: K.S. Tankatsinhji; K.S. Lalsinhji; Bhanji; R.S. Mahadeosinhji of Limbai; K.S. Karansinhji; K.S. Ranjitsinhji; Pujara; K.S. Jaffer Khan; Kesri; K.S. Gambhirsinhji. Team portrait. All named as follows: 'J.H. Hornsby; A. Gibson; A. Leatham; E. Lawson-Smith; J.G. Walker; G.F. Vernon; F. Shand; T.K. Tapling [?], MP; G.H. Goldney; H. Phillipson; Dr Little'. Team posed on their ponies. Team posed with cups and trophies. J.A. Scroggie seated centre. No identifications supplied. The photograph was taken in the Scroggie's garden. Teams seated round tea table in the open air. The following figures are identified: Richardson, Tsarong, Gould, Sarkang Se, Norbhu, Yutok, Dagg, Nepean, Morgan. 'Seve-a-side footbal games. These games have degenerated and become too professional! Certain captains complain that their less skilful players are incapacitated and they then proceed to import more expert players from other teams. However, a few days after this some rogue stole our goalposts for firewood and the season's play has come to an abrupt end. ' (Lhasa Mission Diary, 26 November 1936).[Gelatin silver print, 155x108mm]. Tea party in progress. Sir Lancelot Graham can be seen at the table in the left background. Function identified from print 30. Tea party in the garden. W.R. Davies (left) in conversation with Sir Lancelot Graham, Governor of Sind. Prints 12-14 were also taken at this function. Tea-party on a lawn with: '1. Sir B. Simpson, 2. Sir Comer Petheram, 3. Colonel Ardagh, 4. Mrs Prinsep, 5. Lady Florence [Streatfield], 6. Thoby Prinsep'. Tea-party on a lawn with: '1. Sir Comer Petheram, 2. Lady Claud Hamilton, 3. Sir Benjamin Simpson, 4. Colonel Ardagh, 5. Mrs Prinsep, 6. Lady Florence [Streatfield], 7. Thoby Prinsep'. Ten officers on a station platform. All identified by a key on the reverse: '(1) A.D. Jones, IP. (2) ?Imdad Ali, IP (Assam). (3) S.N. Bakar, ICS. (4) F. Carman, IP. (5) A.M. Sadulla, IP. (6) F.O.B., Settlement Officers. (7) K.D. Phillips, IP. (8) A.B. Scott, ICS. (9) T.E. Rogers, ICS. (10) J.M.G. Bell, ICS'. Tentative identification. Wooden decorative work in background looks Burmese, but could be part of Temple's collection. Tering Raja and his wife in front of their house.[Gelatin silver print, 141x92mm]. The accompanying key supplies the following identifications: (back row, l. to r.): Critchley; Brine; Pryce (?Pryce); J.P. Morton (IP); Robeson Taylor; unknown; Maj Hodder; unknown; Irvine; Morrison; unknown; (behind are Phyllis Beck and Hinchcliffe;); J.A. Scroggie (IP); L. Sale (ICS); MacFarquhar (ICS); Reid; (middle row): Mrs Critchley; unknown; Mrs Scroggie; unknown; Mrs Appleby; Mrs Steadman; Mrs Nisbet; Mrs MacFarquhar (below is Nisbet); Miss Tiffany May; unknown; unknown; Mrs Tasker; (front row): unknown; Mrs Hodder; unknown; Headington (behind are Eva Foi and Joan Wheatley); Mrs Becker (with unknown lady behind); Becker (as Chinese); unknown; Mrs Marsden (behind is Nisbet); Mrs Price; unknown (behind in Ungaro); Halpern (in front is J. Donald); Cattell and unknown lady; Darnley. The accompanying key supplies the following identifications: (back row, l. to r.): E.A. Hopkins; O'Neil Shaw; C.H. Everett; W.K. Manger; Ghulam Ahmad; F.A.T. Heron; J.A. Scott; J. Ryall; Pritam Singh Brar; E.W. Wace; H.G. Russell; P.C.D. Beaty; G.B.S. Prance; Newman; H.D.M. Scott; (middle row, standing): H.W. Hale; Sudarshan Singh; unknown; Chuni Lal; A.C. Fryer; unknown; Sant Singh; Aitizaz-ud-Din; unknown; unknown; Bakhtyawar Ali; Price; H.W. Waite; Abdul Qayyum Khan; (middle row, seated): G.T.H. Harding; V.W. Smith; J.Slattery; J.M. Ewart; Glascock; Cocks; J. Adam; Hamidullah; F.W. Toms; J.A. Scroggie; A.F. Senior; (front row, seated on ground): unknown; Brain; Rouse; unknown. Duplicate at Photo 416 (7). The accompanying key supplies the following identifications: (back row, l. to r.): Jack Donald; J.A. Scroggie; E.H. Cattell (Lloyds Bank); Morrison; L.O. Tasker (Chartered Bank); unknown; Buddy Pryce (?Price); (middle row): Denzil Bryan (ICS); Brine (Fleming, Shaw & Co); Mrs Tasker; Vernon Critchley (?PWD); Mrs Scroggie; Walter Becker; Mrs Steadman; Walter Dawson (Forbes, Forbes, Campbell & Co; Mrs Irvine; Steadman. (front row): Halpern; Mrs Critchley; Robeson Taylor; Mrs Appleby; J.L. Robertson (Chartered Bank); Mrs Marsden; MacFarquhar (ICS); Mrs MacFarquhar; R.J.M. Darnley (Chartered Bank); Miss Tiffany May; J. Reid (Chartered Bank); Irvine; Mothersill (Blackwood, Blackwood & Co). The accompanying key supplies the following identifications: (back row, l. to r.): N.R. Sahney; H.C. Hallows; Sant Parkash Singh; K.D. Wagstaffe; J.B.F. Field; J.P. Morton; Rouse; Brain; (second row from back, standing): D. Gainsford; Bassett; W. St. L. Hodder; W.H.A. Rich; Rush; R.F. Neal; C.H. Everett; W.K. Manger; W.D. Robinson; J.S.A. Selwyn; (third row from back, standing): J.T.M. Bennett; D. Kilburn; R.A.C. Hill; Unitt; Newman; de Gale; Sadhu Ram Chandhri; Ailizaz-ud-Din; E.A. Hopkins; D.L. Woods; Matthews; H.D.M. Scott; Harnam Singh; Kishen Kaul; (front row, seated): D. Fitzgerald; J.A. Scroggie; A.F. Perrott; V.W. Smith; Hamidullah; F.W. Toms; C. Stead; H.W. Waite; unknown; F.A.T. Heron; K.B. Abdul Aziz; J.A. Scott. The accompanying key supplies the following identifications: (back row, l. to r.): Phillips; Sant Parkash Singh; W.K. Manger; Pritam Singh Brar; K.S. Agha Saadat Ali Khan; Abdul Ahad; Bassett; Hopkins; Unitt; Ghulam Ahmad; Gainsford; du Heaume; B.Y. Ali; N.R. Sahney; Harnam Singh; (second row from back, standing): Miss G. Trevor; L. Chawner; Miss M. Mitchell; J.A. Scroggie; Miss H. Toms; J.A. Scott; Mrs Bennett; Ailizaz-ud-Din; unknown; Rouse; unknown; R.C. Jeffreys; Sadhu Ram Chaudhri; Miss Fitzgerald; R.A.C. Hill; Miss P. Trevor; H.D.M. Scott; (third row from back, seated): unknown; K.B. Abdul Aziz; Mrs Scroggie; H.O. de Gale; Mrs J.A. Scott; J. Slattery; Mrs Toms; J.M. Ewart; Mrs Ewart; F.W. Toms; Mrs Jeffreys; J.T.M. Bennett; Mrs Neal; T.F. Cooke; Sanderson; (front row, seated): J.B.F. Field; W. St. L. Hodder; R.F. Neal; H.C. Hallows; R.I. Hallows; F.H.G. Bridgman; H.G. Russell; K.I. McCrea; P.S.L. Farmer; (standing at extreme back): A.F. Senior; J.P. Morton. The accompanying key supplies the following identifications: (back row, l. to r.): Steadman; Critchley; unknown; Pryce (?Price); unknown; unknown; unknown; Philpot Brookes; unknown; J.P. Morton (IP); Brine; (third row): Phyllis Beck; A. Rahman; Mothersill; Mrs Wheatley; unknown; Mrs Steadman; J. Donald; Mrs Critchley; MacFarquhar; Osborne Smith; Wheatley (ISE); Darnley; (second row): Denzil Bryan ; Peggy Ellison; Cattell; Miss Tiffany May; Mrs MacFarquhar; J.A. Scroggie; unknown; Reid; unknown; Robertson (Chartered Bank); W.V. Dawson (Forbes, Forbes, Campbell & Co); (front row): other ranks of Northamptonshire Regiment. The accompanying key supplies the following identifications: (back row, l. to r.): unknown; R.H. Fooks; Liakat Hayat Khan; C. Stead; unknown; B.B. Howell; L.C.B. Glascock; J.A. Scroggie; N.L.K. Wilson; J.E. Ryall; A.L. Evans; H. Neville; V.W. Smith; J.A. Scott; (second row from back, standing): F.R.L. Crawford; Hamidullah; unknown lady; H.O. de Gale; Mrs Marshall; A.H. Marshall; J.F. Rehill; Mrs D. Fitzgerald; C.A. Macpherson; D. Fitzgerald; unknown; D. Donald; Eustace Chisholm; R.B. Chuni Lal; (third row from back, standing): H.M. Waite; W.A. Coventry; unknown; J. Slattery; Mrs Stead; Hugh F.L.S. Whistler; unknown; L.L. Tomkins; Mrs Glascock; H.G. Fitzgerald; unknown; F.A.T. Heron; (row seated on chairs): F.C. Isemonger; Mrs Cocks; H.L. Kemball; unknown;Col Sir Hector Dennys; Lady Dennys; 'Stuffy' Stewart; Duncan Donald; unknown; G.A. Rundle; (seated on ground): I.W. Bowring; William Beatty; unknown child; unknown child; unknown child; G.A. Cocks; F.W. Toms; E.W.C. Wace. Further notes state: Hugh Whistler was the author of Popular handbook of Indian birds (1928). F.W. Toms and L.L. Tomkins are wearing the KPM with its original ribbon of dark blue with a narrow silver stripe stripe on each side. The accompanying key supplies the following identifications: (back row, l. to r.): unknown (ADC to Governor); K.I. McCrea; Leake; P.S.L. Farmer; N.D.T. Sutton; R.I. Hallows; Miss S. Slattery; W.H.A. Rich; Miss G. trevor; J.B.F. Field; (second row from back, standing): J. Slattery; du Heaume; D. Gainsford; Rouse; D. Kilburn; Slessor; Sant Singh; Hopkins; J.A. Scroggie; Gurdial Singh; J.A. Scott; unknown; (?)Mehta Ishar Das; unknown; W.C. Plumb; unknown; (third row from back, standing): S.E. Robinson; A. St. J. Wood; G. Durrant; Budh Singh Bindra; R.F. Neal; N.R. Sahney; Chuni Lal; Sant Parkash Singh; S.R. Chaudhri; Abdul Qayyum; Saadat Ali; Qurban Ali; Bassett; Abdul Ahad; unknown; unknown; (front row, seated): Mrs Jeffreys; Sheepshanks (ICS); unknown; Mrs Neal; P.L. Orde; Mrs Scroggie; Mrs du Heaume; Mrs Boyd; Sir John Ewart; Sir Herbert Emerson (Governor of the Punjab); Lady Ewart; D.J. Boyd (ICS); Mrs Orde; Mrs H.D.M. Scott; R.C. Jeffreys; Mrs J.A. Scott; H.D.M. Scott; Miss J. Barker; unknown. The accompanying key supplies the following identifications: (back row, standing): S.E. Robinson; P.S.L. Farmer; C.H. Everett; G. Durrant; L.V. Deane; D. Gainsford; (?)Mehta Ishar Das; R. Bowen; J. McLintie; R.F. Neal; J.M. Dean; Leake; R.M. Hallows; (second row from back, l. to r.): Holliday; Garrod; Garrad; Ghulam Ahmad; W.D. Robinson; J.P. Morton; N.R. Sahney; Waryam Singh; Hopkins; S.R. Chaudhri; Jeffreys; unknown (?Governor's ADC); du Heaume; (third row from back, standing): J.A. Scroggie; Jameson; unknown; (?)Muzaffar Ali; (?)K.S. Abdul Aziz; unknown; Gurdial Singh; unknown; Qurban Ali; P.S. Brar; Balbir Singh; K.S. Agha; Saadat Ali Khan; E.N. Edwards; Shamsher Sindh; H.G. Russell; (fourth row from back, standing): W.C. Plumb; A.A. MacDonald (ICS); H.D.M. Scott; J. Slattery; K.B. Abdul Aziz; (?)Miraj-ud-Din; Abdul Qayyum; D. Kilburn; Mrs Garrad; Mrs du Heaume; Mrs Brar; Mrs Scroggie; Mrs Trail; Unitt; J.T.M. Bennett; Lt Col Trail; H. Ronson (ICS); Sant Singh; (front row, seated): Mrs Holliday; Mrs Gainsford; Mrs MacDonald; Mrs Ronson; Mrs Jeffreys; Sheepshanks (ICS); Mrs H.D.M. Scott; D.J. Boyd (ICS); Mrs Orde; Sir Herbert Emerson (Governor of the Punjab); Mrs Boyd; P.L. Orde; Mrs Neal; F.W. Toms; (?)Mrs Harcourt Butler; Mrs Russell; (?)Miss Harcourt Butler. The accompanying key supplies the following identifications: (Standing l. to r.): J.R. Mothersill (Blackwood, Blackwood & Co); unknown; Osborne Smith; Scroggie; Irvine; unknown; (middle row): unknown; Buddy Pryce (?Price); unknown; Morrison; unknown; unknown; (front row): all unknown except F.J. Brine (Fleming, Shaw & Co) at right. The Ambassador is sitting centrally surrounded by six officials. Probably a Charles Shepherd or Shepherd & Robertson photograph. Duplicate at Photo 752/12 (7). The baby is playing with a banjo on his father's knee. The Barnes seated in a landau with a second, unidentified woman. The Black Hearts was a bachelors club at Simla. The cadets are named below the print as: 'Colquhoun, Pierson, Baldwin'. A later annotation identifies 'Major W.H. Pierson, RE'. Better print at Photo 42 (126). The C-in-C is seated in the centre of the group. The crew and commander of the ship, in uniforms, loading and operating a cannon.[Albumen print, 314x 384mm]. The Crown Prince of Germany holding the horns of a dead buck. The Dalai Lama Nga-wang Lopsang Tup-den Gyatso, seated on throne on decorated platform. Typescript note with Bell's index continues: 'Behind throne red silk brocade; above it nine silk scrolls, each representing the Buddha in the 'earth-pressing' (sa-non) attitude. In front of throne is a dais,18 ins. high with a balustrade of finely carved woodwork running round it. Hanging down in front of the throne is a white silk cloth embroidered in gold with crossed dorjes. Flowers, ie chrysanthemums, marigolds, etc., are set round the dais. This is the throne which the D.L. uses on important occasions.' ('Tibet Past and Present', p.144). The European trekkers with their party of hill porters, guides, etc. The exact date and event are unknown but it is certainly at Shillong (see portraits in Photo 897/5). The absence of the Chief Commissioner Sir William Ward and Lady Ward suggests this may have been taken in 1894 when Sir Charles Lyall was temporarily in charge, although none of the sitters are identified. The man standing right of centre wearing a topee is probably W.H. Nightingale. The family posed outside their hut. 'Bommay Gouda is a man of about fifty-five years of age. He is of good caste, being a Shivachar or Lingayet, and lives by cultivation and breeding and selling cattle. Of all the cheery jungle-companions I know Bommay Gouda stands first. He has literally lived among animals all his life and possesses the most consummate knowledge of their habits, but the tiger and elephant are his chief game' (George P. Sanderson, Thirteen years ... (London, 1878)). The figure standing in the doorway is possibly George Stanley Hooper. The following British and Turkish officers are named: 'Capt Ord, Mr Thornett, Mr Dawson, Capt Godwin, Capt Brackenbury, Capt Bent, Turabi Effendi, Capt Maquay, Capt Longley, Capt Whitmore, Capt Elphinstone'. Probably taken at Kerch. The following British and Turkish officers are named: 'Capt Ximenes, Genl Evans, Bimbashi 4th Regt, Capt Clapham, General Cunningham, Brigd Holmes'. Probably taken at Kerch. The following individuals are named: 'Capt Godwin, Major Crease, Capt Whitmore, Major Mercer, Mr Major, Capt Longden, Capt Ord, Capt Elphinstone'. Probably taken at Kerch. The following individuals are named: 'F.Hogg, Amy Monteath, Mrs Parsons, Annie Bernard, Marion Durand, Mrs Harris, Lady Norman, Mrs Barclay Chapman, Miss Steeler, Mrs Madley, Major Madley, Dr Cunningham, Lt(?) Stuart Hogg, Mrs Lindsay, Hn E. Bourke, Lord [?], Agnes Norman, Mrs Girdlestone, Mrs Norman(?), Col Biddulph, Lt Lascelles, C. Lindsay, Laura Lindsay, ''Cuckoo'' Biddulph, Emmie [Miss Bayley], Mrs Turner, A.B. [Lady Bayley], Mr Maddocks, Capt de Robeck[?], Miss Sandys[?], Edward [Clive Bayley], Mrs Maddocks, Charlotte [Miss Bayley], Terence Bourke, Mrs Cunningham, Mary Lindsay, Charlie [Bayley], Hon Mrs Thesiger'.For another copy of this print see Mss Eur G.661 (97). The following individuals are named: W.C. Tudor-Owen (ICS), I.J.B. Thatcher (IP), R.Z. Gibson (ICS), Mrs Kay, Lord and Lady Sydenham, J. Sladen ICS (ASR), the Minor Nawab of Junagadh, Mrs Robertson, Margaret & self, Mrs Boyd, Miss Croley(?), Captain Kay, 8th Lancers, Capt George ADC (Dorset Regt), Capt Lucas, L. Robertson (ICS, Administrator), Mrs Scott, Mrs Tudor-Owen, Minor Chief of Palitana. Standing: J. Scott, I. Boyd (IP), Khan Saheb of Manawadar, G. Brook-Fox, Sheikh Saheb of Mangrol. The following individuals are named in a handwritten list on the back of the print: 'Left to right Major Atkinson [?] (Bodyguard), [Major] Muir (Controller), Sir Geoffrey de Montmorency (Private Sec to Viceroy), H.E. the Viceroy, Col Worgan (Mil Sec to Viceroy), Col Carey Evans [Surgeon to Viceroy], Aides, Cap Mostyn Owen, Gregory Smith, Dunston, Cap Harvey [?]. Ass. Priv. Sec., Cap Laurance (Adj. Bodyguard), Cap Noel Hill, Top Left Cap John Coombe, Indian ADC's, Cap D[?] Daly'. The following sitters are named: 'Munkshore, Col Prideaux, K.C.M., HH the Maharajah, Hendley, Col Jacob'. Duplicate at Photo 448/9 (215). The following sitters are named in a typed list accompanying this collection: '[Right to left] Front Row - (on ground). Wilkin, Isemonger, Smith's boy and two girls, Wallace DSP, Glascock, Hadow. Next row (sitting). Mrs Wilkin, Mrs Dennys, Plowden, Mrs Brown, Dennys, Mrs Dunsford, Brown, Mrs Rundle, Hammond, Miss Dunsford. Next row (standing). Lake, Miss Wallace, Miss Glascock (engaged to Cocks), Mrs Hammond, Miss Dunsford, Miss Glascock (I believe, engaged to Isemonger), Miss Langford (S. Smith's sister-in-law), Smith, Mrs Smith, Miss Wallace, Dunsford, (DSP, Delhi), Mrs Close, Mrs Stewart, Bean. Back Row (standing). Temple, Tomkins, Handyside, Clough, Rundle, Petrie, Mitchell, Isaacs, Cassera, H. Baskett, Weston, Close'. The following sitters are named in a typed list accompanying this collection: '[Right to left] Front Row - sitting. G.A. Weston, F.C. Isemonger, Clough, Handyside, Cocks, Wilkin, Hadow (A/DSP's). Next-sitting. Bean, Lake, Close (DSP's), Hammond DIG, Brown IG, Smith DIG, Dunsford, Rundle DSP's. Back Row - standing. Tomkins DSP, Petrie, Glascock A/DSP's, Temple DSP, Isaacs A/DSP, Stewart Mitchell, Plowden, DSP's, an Inspector, H.J. Baskett A/DSP, an Insp, Cassera A/DSP'. The forested hills in the background suggest this was taken in a northern hill station such as Simla. The four men seated in a row. They are identified as the Yutok Shap�, the Sechung Shap�, the Tsarung Shap� and the Kalon Ta Lama. Faded print. The four men seated on the verandah steps also seen in print 117. Photograph probably taken by Irma Bailey, since she appears in print 117, but not in this. The four named figures on horseback. Faded print. The girl carries the young child on her back, wrapped in a blanket. The group consists of Mrs Murray, Marian, Carrie and Jack; the ages of the younger children date the print at about 1860. Small faded print. The group includes European men and women and Indian notables. W.H. Nightingale is sitting on the ground, third from left. The headman Gyamtso standing beside a prayer wheel driven by water. The home includes a maternity unit, child welfare and ante-natal clinics. The photographer's name on the verso is not clearly written, but appears to read N.V. Parycha or Parkha of Ahmadnagar. The horse in front of the stairs of a building, with three keepers and a military officer, in uniform (similar to print 1).[Albumen print, 243x313mm]. The Indians are identified as, 'Narain' and 'Rupji' (see also Print 188). In Photo 448/2 the man named Rupji is identified as Thakur Rupsingh of Naila. The location is unknown but appears Indian (Calcutta?). The word 'Archaeology' is above a door on the building behind. The location is unknown but is probably in Bangladesh. The Maharaja, Jigme Wangchuk, is seated at the right. The European in the foreground is possibly Frederick Williamson. The Maharaja of Kashmir, Sir Pratab Singh, stands between the Resident at Kashmir Sir Adelbert Talbot (on right) and the Lieutenant-Governor of the Punjab Sir William Mackworth Young (on the left), with the Maharaja's brother, Amar Singh, on the right. Louis Dane stands behind Talbot. The identification of Fitzpatrick on the reverse of the print is incorrect. The male sitters in the group are identified as follows: 1. Blair (Commander), 2. Senior (I.M.S.), 3. Fowler (Political), 4. Leith Ross, 5. Etherton, (6) Nicholls, (7) Cullen, (8) Mercer (Royal Flying Corps). Bailey himself is in the centre, behind the nurses. The man is also seen in Print 1. The man is seated on a fallen tree trunk, posed holding a piece of wood as a spear over the fish in the water below.[Albumen print, 94x119mm]. The man is sitting at a table holding a rifle in his left hand. Two guns are propped against the table which is covered with silver trophies and awards. A small object at the front of the table is inscribed 'Won by ...[?]...'., the name being difficult to decipher but possibly ending in 'letts' or 'leitz'. The man is sitting on a Zenith bike with side-car. Probably in England. The man on the left is named below the print as, 'Lal Singh'. The man on the left is the Mr Kendal of Print 150. The man on the right is named below the print as, 'Allah Bux'. The man on the right is named below the print as 'Khoomla'. The mother and father are standing watching their young sons boxing. The Nawab, Bahadur Khan, is seated full-length in the centre on an elaborately carved chair. The following individuals are named: 'Mr Haridas Viharidas, late Diwan; HH Bahadur Khanji, GCIE, late Nawab Sahib; Bahauddin bhai, CIE, Vazier Sahib [and] Mr Purusholtumrai S. Zala, Naib Diwan'. The Nepalese Prime Minister, Maharaja Ranudip Singh, sits in the centre. The original caption wrongly reads: 'Sir Jung Buhadar'. This is a detail of print No 132 in Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal, Calcutta 1876. The pair seated at an official function. Oval vignetted image. The photograph appears to have been taken on the same occasion as the football group in print 152. The photograph is pasted into a card, decorated with a ribbon and the regimental crest, with the following inscription inside: 'Hoping you are very fit & going strong. With best wishes to you all for the Xmas & New Year, [signed] J.C. Macrae'. The portrait probably shows Helen Hodder, the compiler of this album, on the vernadah of 'The Hermitage' (see print 1). Another copy at print 19, there dated 10 August 1901. The portraits are mounted in a floral oval crowned with a coat of arms which reads: 'Advance Australia'. Below this is the word, 'Saurashtra'. The portraits are as follows, (top) Mahabat Khan, (centre) Bahadur Khan, (bottom) Rasul Khan, (left) unidentified, (right) Baha-ud-din . The Prince sits in the centre behind a table with the Viceroy, Lord Northbrook, on his right. The following individuals are identified: 'Sir Dighton Probyn, Canon Duckworth, Admiral Glyn, Prince Louis of Battenberg, Capt Loch, ADC, Ld W. Beresford, Ld C. Beresford, Ld Northbrook, HRH, Ld Suffield, Major R. Biddulph, Major Upperton, Dr Barnett, Lady Emma Baring, Col Earle, Native ADC, Ld Baring, Sir W. Gregory, Sir Bartle Frere, Capt A. Fitzgeorge, Capt Farmer, Sir J. Fayrer, MD, Major Jackson, Comd of Body Guard'. Duplicate at Photo 475 (7) and 752/31 (15). The print is accompanied by a hand-drawn key identifying the following sitters: Sir Hugh Barnes, Colonel Fenn, Lord William Beresford, Khan of Kalat, Captain Creagh, Captain Hon'ble C. Harbord, Khan of Kalat's successor, Colonel Ardagh, Lady Sandeman, Marquess and Marchioness of Lansdowne, Sir Robert Sandeman. The print is signed 'R. Pandaya' and a wet-stamp on the reverse names the photographers as The ""Study"", A Portrait Studio. Elsewhere in the collection this is named as the Studio ""Study"". There are 18 Europeans in the group of which 16 are named as follows: '1. Sir James Lyall; 2. Hon'ble Everard Digby; 3. Mrs Hope; 4. Captain Streatfeild [Streathfield]; 5. Surgeon-Major Fenn; 6. Marquess of Lansdowne; 7. Mr W.J. Cuningham; 8. Captain Hon'ble Charles Harbord; 9. Lady Lyall; 10. Lady Emily Digby; 11. Captain Apthorp; 12. Mr Clarke; 13. Captain Lister; 14. Colonel Ardagh; 15. Captain Creagh; 16. Captain Cornish'. The Rev and Mrs Storrs-Fox pictured outside the fort gates. The Rev Storrs-Fox standing with two women by a pool. The same group but wearing their topis is reproduced as No. 140 in 'Bourne & Shepherd's Royal Photographic Album of scenes and personages connected with the progress of H.R.H. the Prince of Wales through Bengal, the North West Provinces, the Punjab and Nepal' (Calcutta, 1876, OIOC Photo 992/1). Here the accompanying letterpress description reads: 'The helmets which surmount all the personages in this picture (except Lords Suffield, Carington and Charles Beresford) were not assumed for the purpose of disguise, but in deference to the Indian sun; nevertheless they do make identification in some cases difficult. The Prince, however, in the centre of the group, cannot be mistaken. The Duke of Sutherland and Sir Bartle Frere are seated on either side of His Royal Highness; General Probyn and Lord Alfred Paget are standing just behind, while Lord Carington and Lord Charles Beresford are safely established on the ground in front. To the left of the Duke (in the picture) is Lord Suffield, and behind are Lord Aylesford, Colonel Ellis, and Mr Knollys. To the right of Sir Bartle Frere we have Sir Sam Browne and Major Henderson seated, and standing behind them Sir Joseph Fayrer, Dr Russell, Canon Duckworth and Major Bradford'. The same woman is photographed in another form of transport at Print 135. The seated figures are, from the left: Lieut-Col Everard Baring (Military Secretary), Sir Louis Dane (Foreign Secretary), Curzon, the Maharaja and James Robert Dunlop-Smith (Political Agent). Other Europeans in the group standing behind include the ADC's Major Poynter, Captain Wigram and Captain Keighley and Reginald Bolster, Assistant to the Political Agent. The seated Maharaja, Jayaji Rao Sindhia, is surrounded by Gwalior State officials. This photograph is most probably by Bourne & Shepherd as a portrait of the Maharaja taken in the same sitting appears in Wheeler's History of the Imperial Assemblage at Delhi (London [1877]) in which the majority of prints are attributed to the firm. Duplicate at Photo 2/3 (14). The servant Nebira, a young boy, posed with a tea tray. The sitters are named as follows: '[Standing] Mr Latimer, Capt Adam, Capt Morley, Capt Pollen, Dr Franklin, Miss Martelli, Col Durand. [Sitting] Lady E. Bruce, Mr B. Smith, Mrs Martelli, H.E. [Lord Elgin], R. Bruce, Lady Elgin, Col Martelli, Miss Martelli'. The sitters are unnamed although the following can be identified: Lord Lytton (sitting in the centre), Charles Saunders, Commissioner of Mysore and Coorg (sitting on Lytton's left), Charles Alfred Elliott, Secretary to the government of the NWP, but on famine duty in Madras (sitting far right), Mr J.D. Gordon, Judicial Commissioner (sitting far left), Colonel George Villiers, ADC (standing 4th from left), Colonel Sir G.P. Pomeroy-Colley, Private Secretary (standing 5th from left), Dr O. Barnett, Surgeon to the Viceroy (standing far right), Captain W. Loch, ADC (reclining on the ground at the front of the group) and Lieut-Colonel Owen Burne (sitting on the ground in the centre, behind Loch). The sitters are wearing hunting dress and are presumably members of the Poona Hunt. Three of Sykes' children are sitting on the ground in front of the Governor and Lady Sykes. The sitters have been numbered in the negative 1-136, but no key exists. The Reverend R. Clark is number 77. This may be a gathering of missionaries from the Church Missionary Society only or from several different missions. The Stotherd's on horseback. The Tering Raja, his wife and a young man and woman, standing in front of the Tering Raja's house at Gyantse.[Gelatin silver print, 141x92mm]. The Thakur Sahib, his sons and Indian officials. The three figures on horseback. The three figures on horseback. The doctor is Surgeon-Major Edgar Vivian Ayre Phipps. A faded and yellowed print.[139x93mm]. The three figures seated on a rug, holding matchlocks. The three men seated at a table.[Gelatin silver prints, 201x152mm]. The three named figures on horseback, with bows, at the military sports.[Silver printing-out paper, 139x82mm]. The three women are sitting in a row, Alexander Ross stands behind. Ellen Sievwright (centre) married Lieut Walter R. Lascelles of the 3rd Bn Rifle Brigade in Agra in 1861, and in the same year Frances Harriet Sievwright married Fitzroy Stephen (1835-1906) also of the Rifle Brigade. The three women picnicking in the Shalimar Bagh. The three women posed informally on a verandah. The three women seated in the gardens. The three women seated on cushions. See note at print 375.[Gelatin silver print, 154x105mm]. The trophies consist of five stag skulls and a bear skin. The two children of Henry James Amoore seated in a dandy carried by two uniformed bearers.[Gelatin silver print, 134x80mm]. The two figures standing beside cairn, with prayer flags in background. The two ladies on horseback in front of Viceregal Lodge. The two men, on horseback, with attendants, outside the Lhalu Mansion. The two men are seen walking in the grounds of Viceregal Lodge, Simla. The two men are standing on the steps of a bungalow. The two men hold hands in front of a line of Kashmir officials. The two men posed beside one of the guns on H.M.S. Greyfly. The two men posed in front of the building. The two men seated in front of grass huts. Another copy at Mss Eur F157/484 (77). The two men seated on the deck of the houseboat White Heron. The two officers examining a piece of ground at the water's edge. The two officers of the Sikh Pioneers seated in camp chairs. The two officers resting beside a cairn. The two women on the verandah of the bungalow. The two women posed in the courtyard of the hotel. The Viceroy, Lord Ripon, is sitting on the left. His ADC, Lord William Beresford, stands on the right. Lady Charles Beresford sits on the right. The Viceroy, Marquess of Lansdowne, his wife and staff. The Viceroy is standing on board ship waiting to disembark. The Viceroy Lord Elgin seated with staff at Ali Masjid during his visit to the Khyber Pass. Figures in main group identified as follows: Col Ian Hamilton; Mr Babington Smith; Mr Johnson Exe. Engr.; Capt Minchin; Mr Heusman; Capt Adam ADC; Capt Ponsonby ADC; Col Durand; Capt Crowe ADC; Gen Kinloch; Capt Baker Carr ADC; Dr Franklin; Mr Cunningham (Commr., Peshawar); Col Warburton; Col Aslam Khan; Sir George White; Lord Elgin. The accompanying clipping describes the occasion: 'The party walked up to the fort which crowns the height commanding the road. This is a masonry structure in excellent repair, and is always held by a detachment of the Khyber Rifles...After photographic groups had been taken by Mr Burke, the Viceroy left'. The walls of the fort form the background of the photograph. The Viceroy Lord Northbrook posed with his staff in front of the porte-coch�re of Peterhoff, the Viceroy's residence. No identifications supplied. Sir Henry Norman is seated on the Viceroy's left. Lord Napier of Magdala is seated second from left. The Viceroy Lord Reading and the Maharaja of Gwalior posed with their bag of tiger skins. Probably taken on the same occasion as prints 28-29. The Viceroy with the Governor of Bombay and officials. The Wakefield family picnicing near the hut seen in print 10, with the servant Mahomed Beg standing in the background.[Silver printing-out paper, 129x80mm] The Wazir, Sadik Ali Sher Ali, is sitting on the left, next to him is the heir-apparant, Mir Ali Nawaz Khan. On the right is Mir Aladad Khan. The Willingdon's and guests at Government House, Poona. The young children of the Maharaja of Gwalior. The young head lama peering through a small window at the camera. The young Maharaja (b.1884) seated between Lord and Lady Elgin, with uniformed officials grouped behind. The young servant Nebira, dressed in a white uniform and holding a plate of fruits, standing on the gangplank of the houseboat Gold Mohur. The Zemindar standing in front of the gate of the government rest house. This company was besieged at Chitral for seven weeks. Afterwards they were awarded the unique honour 'Defence of Chitral'. This is a copy negative from a print as the image contains a dedication 'To my good friend Mr Macmillan with regards [?]...'. Glass negative (damaged), no print. This is most likely Hyderabad in Sindh, not the Deccan. Lieut-Colonel Reilly is sitting in a rattan chair right of centre. This portrait is accompanied by a description of the various ranks represented and their accumulated honours and medals, as well as a four-page list of individuals summarised as follows:1. HC Mir Afzal; 2. Constable Munshi Khan; 3. Constable Muhammad Aslam; 4. HC Dayal Singh; 5. Constable Teja Singh; 6. Constable Bhalaji Laxman Tharpe; 7. Constable Shaikh Amir Shaikh Muhammad; 8. HC K. Achutha Menon; 9. Constable P. Sheshadri Nayudu; 10. Either Constable Jitan Prosad or K.H. Rao; 11. Constable Altaf Hussain Mirdha; 12. Either Constable Jitan Prosad or K.H. Rao; 13. Constable Muhammad Anfar; 14. Constable Ghulam Qadir Changge; 15. HC Mohan Kachari; 16. Constable Chandra K. Dutta; 17. Rifleman Sherbahadur Thapa; 18. HC Krishna Govind; 19. HC Khadikhan Matwali Khan; 20. Central Provinces constable?; 21. Inspector Jiwan Dass; 22. Inspector Ghulam Kadir Muhammad; 23. Inspector Frederick George Peters; 24. Inspector Narindar Singh; 25. Inspector Babu Ram Kedar Singh; 26. Probably Inspector M. Muhammad Siddiq; 27. Inspector B. Subbarayudu; 28. Inspector Satyendranath Mukharji; 29. Sub-Inspector Santiram Lakhar; 30. Sub-Inspector G.S. Gantayat; 31. HC Abdul Majid; 32. Constable R. Gopalam Nair; 33. HC Ram Bharose; 34. Possibly HC Muhammad Abdul Quddoos; 35. Constable Shabir Ahmed; 36. Constable from Central Provinces. May be either Nonajee or Lalta Parshad; 37. HC Wahidullah; 38. Deputy Superintendant Gul Mast Khan; 39. Deputy Superintendant Saurendra Nath Mitra; 40. Deputy Superintendant Mir Maqbal Khan; 41. Deputy Superintendant Said Ahmed Shah; 42. Deputy Superintendantm C.M. Jha; 43. Deputy Superintendant Nasarvanji; 44. Superintendant J.E. Reid; 45. Deputy Superintendant M. Narayana Menon; 46. Deputy Superintendant D. Thompson; 47. Deputy Superintendant Charan Das; 48. Subedar Major Ganga Lal Rai; 49. Subedar Major Sardar Bahadur Nainsingh; 50. Constable Deokishan Singh. 51. Constable Abdulla Khan. 52. Sepoy Rah Nawaz; 53. Jemadar Sarmast Khan; 54. Sub-Inspector Tulja Ram Chandiram; 55. Sub-Inspector Muhammad Asghar; 56. Sub-Inspector Zafirul Hussain; 57. Unidentified Sub-Inspector; 58. Sub-Inspector Pahlwan Singh; 59. Possibly HC Sukhnandan Singh; 60. Constable Multaniram Mataram; 61. Probably Constable Abdulla Jan. This print is accompanied by a long letterpress description. This print is published as 'No 11 - King Thebaw and his wives' in R.B. Graham's Photographic illustrations with description of Mandalay & Upper Burmah Expeditionary Force, 1886-87, Birmingham c.1888. The portrait is not however by Graham as a similar portrait from the same sitting was published by W.W. Hooper in his Burmah. A series of one hundred photographs illustrating incidents connected with the British Expeditionary Force to that country..., London c.1887 (see Photo 312 (73)). Here, the letterpress description accompanying the print describes how the negative was found at the palace and was probably taken by a Frenchman who was employed as the Court Photographer, or one of his Burmese assistants. This print was originally contained in a letter-headed sheet of paper, with the address: 'Mohammad Khan, Birds and Animals Dealer (Wild and Domestic), Anarkali Street, Lahore'. Three children standing under a tree. Three European men and a woman being waited on by two servants carrying tea and fruit. Posed in front of the house seen in print 139. Three European men and a woman posing for the photographer in a meadow. Three Europeans and a Tibetan woman seated at a table in a tent. Small snapshot, slightly unsharp. Three Europeans and numerous Indian bearers posed with a dead bear. Three Europeans in fancy dress. Original glass negative, no print. Three Europeans informally posed in garden, holding aloft a pole to the top of which is attached the cut-out silhouette of a fox . Three figures, posed with two sets of bara-singh (deer) antlers. Three figures seated on the ground in front of a wall: 'The one in the middle is a woman, the man on the left is blind. Note the thumbs held up. In front and to the sides are their staves, for all are old.' Three hunters posed with dead stag. Bara singh is a name given to a kind of red deer. Three members of the college staff stand on the left, identified as Professor Callow, Captain Smith and Aaron Penley. The two cadets on the right are tentatively identified as Collis and Straker.[Albumen print, 214x146mm]. Three men. seated on a carpet, one of whom is presumably Ibrahim Khan, Inspector, Punjab Police: 'I had sent Ibrahim Khan on the 1st January to Cabul with letters to Amir Sher Ali, in the hope that it might have been arranged that the mission should return to India via Badakshan and Cabul, but was in ignorance of the threatened troubles arising out of the disagreement between the Amir and his son Yakub Khan...' (Forsyth, p. 19) Three men at work behind a small table. Three men posed round a table under a tree at Chhatrapur?. Three monks on the road, carrying theiur luggage strapped to their backs. Three pith-helmeted Europeans seated with their lances. Three prints, one view of police on parade, head and shoulders portraits of Deputy Superintendent M. Lourd Thomas and Sub-Inspector G. Veeraswami Naidu. Three prints showing the Duke of Connaught visiting the fort at Agra.[Gelatin silver prints]. Three-quarter carte-de-visite portrait of Alexandra, Princess of Wales, with a young child on her shoulders.[Albumen print, 55x90mm]. Three-quarter length cabinet portrait, oval image. Three-quarter length cabinet portrait group. Oval image. Three-quarter length cabinet portrait of George Alfred Lefroy holding a baby, presumably his son George. Inscribed as above on picture mount.[Albumen print, oval image, 87x114mm]. Three-quarter length cabinet portrait of Lawrence Kellie leaning against a Steinway piano. His name is written on the piece of paper he holds in his hand and the reverse of the card is signed 'Yours always sincerely Lawrence Kellie. April 3.90.' Three-quarter length carte-de-visite by Robert Faulkner of London. This woman bears a very close resemblance to the woman in prints 6 and 8, although the caption suggests she is different. Three-quarter length carte-de-visite portrait, his right arm resting on a small table. Son of Sir John Campbell and brother of J.A. Campbell. Engineers Officer, Mysore. Three-quarter length carte-de-visite portrait, of Aimy, daughter of George and Laura Robertson. Oval image.[Albumen print, 60x90mm]. Three-quarter length carte-de-visite portrait, seated at a table with a boo, of Jessie, daughter of George and Laura Robertson.[Albumen print, 60x90mm]. Three-quarter length carte-de-visite portrait, seated reading a document. This is a second copy of the portrait at print 14b. [53x86mm]. Three-quarter length Carte-de-visite portrait showing Lady Canning painting. Like print 14b, this is almost certainly a pirated copy by Hering of a portrait by Josiah Rowe. For a copy of the original, larger print, together with a note on the attribution, see Mss Eur G.91 (170), where the portrait is dated 1860.[Albumen print, 54x85mm]. Three-quarter length oval portrait, seated in civilian clothes, of Major-General Edward Fitzgerald Day, Royal Artillery.[Albumen print]. Three quarter length portrait, at a table reading, with signature. Three-quarter length portrait, in uniform, of Capt Alex Samuel Heyland, Bengal Artillery (ADC to Sir Robert Montgomery?). Second copy neg at B.8711.[Albumen print]. Three-quarter length portrait, in uniform. Three-quarter length portrait, in uniform. This is a photographic copy of the original oil painting of 1856 in the India Office Collection. See Mildred Archer, The India Office Collection of Paintings and Sculptures (British Library, London, 1986), item 31.[Albumen print]. Three-quarter length portrait, signed 'Kaiser Shumsher, 11/3/34'. Three-quarter length portrait, signed 'Lovingly yours, Fred, Dec 1 1915'. Three-quarter length portrait, sitting at a table, facing left. Three-quarter length portrait, sitting at a table facing left. Ellen Anne Pasley (ne� Nicholl), wife of George Boles Pasley, Joint Magistrate and Deputy Collector, Agra. Small faded print. Three-quarter length portrait, sitting at a table facing right. Caroline Pearson (ne� Garstin), wife of Edward Stanhope Pearson, ICS, Cawnpore. Three-quarter length portrait, sitting facing left. Captain Charles Kenneth Mackenzie Walter of the 73rd Native Infantry was Assistant to the Agent to the Governor-General, Rajputana. Three-quarter length portrait, sitting facing left. Probably the wife of George Paton, MD, Postmaster General of NWP, Agra. Small faded print. Three-quarter length portrait, sitting facing left. Three-quarter length portrait, sitting facing left. Three-quarter length portrait, sitting facing left. This is probably Louisa Margaret Chamberlain (ne� Boldero), wife of Lieut Thomas Hardy Chamberlain of the 3rd European Regiment and Assistant Superintendant for the Suppression of Thugi and Dacoity. Three-quarter length portrait, sitting facing right. A later annotation reads: 'Lieut L. Lawder, MNI. Appointed as Orderly Officer, Sep 1857'. But see note at second copy of this print at Mss Eur F135/37 (38). Three-quarter length portrait, sitting facing right. Three-quarter length portrait, sitting in a rattan chair. Three-quarter length portrait, standing in front of fort walls. Murgha Kibzai is situated approximately midway between Fort Sandeman (Zhob) and Loralai. Three-quarter length portrait, standing in front of tent. Three-quarter length portrait, the sitter is facing right. Three quarter length portrait, with signature (undeciphered). Three-quarter length portrait.Exhibited National Portrait Gallery, London, The Raj: India and the British, 19 October 1990 - 17 March 1991. Three-quarter length portrait. Probably taken at Kerch. Three-quarter length portrait. See also portraits at Prints 5 and 6. Three-quarter length portrait. Sir Havilland Le Mesurier (1866-1931), Indian Civil Service 1884-1922, was Commissioner of Orissa 1916 and a member of the Executive Council 1917-22. Three-quarter length portrait. Standing side on holding a rifle. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait. Three-quarter length portrait of a member of the Addiscombe household staff. A later annotation reads: '(Men employed in keeping the studies clean & proper. There were two of them.)'. Three-quarter length portrait of a member of the Addiscombe staff. Three-quarter length portrait of an Addiscombe 'studyman'. Three-quarter length portrait of an Addiscombe cadet, sitting facing left. A later annotation reads: 'Arthur P. Broome, 1858-9'. Three-quarter length portrait of an Addiscombe cadet, sitting facing left. A later annotation reads: 'Philip S. Marindin, 1856-8'. Three-quarter length portrait of an Addiscombe cadet, sitting facing left. A later annotation reads: 'Ross Thompson, 1856-8'. Thompson's name is also inscribed on the negative. This is almost certainly the engineer who later recorded public works in the Madras Presidency and whose photographs appear elsewhere in the photograph collection at Photo 96/2 and in the Archaelogical Survey India Office series.. Three-quarter length portrait of an Addiscombe cadet, sitting facing left. Later annotations read: 'John F. Cookesley, 1857-9' and 'Dec 1858 (2nd Class prize in French'. Three-quarter length portrait of an Addiscombe cadet, sitting facing left. Print is in poor condition. A later annotation reads: 'Boyce E. Gowan, 1857-9'. Better print at Photo 42 (70). Three-quarter length portrait of an Addiscombe cadet, sitting facing left. This is almost certainly Francis Singleton whose portrait appears at Print 35. Three-quarter length portrait of an Addiscombe cadet, sitting facing right. A later annotation reads: 'Francis C. Singleton, 1858-9'. Three-quarter length portrait of an Addiscombe cadet. A later annotation reads: 'Arthur W. Elliott, 1858-9'. Head of 2nd class in Maths, Military Surveying, Latin'. Three-quarter length portrait of an Addiscombe staff officer? Three-quarter length portrait of Annie Georgina Best (ne� Wardlaw), wife of John Rycroft Best, Joint Magistrate and Deputy Collector, Agra. They married in 1846. Small faded print. Three-quarter length portrait of Arthur T. Helme, an Addiscombe cadet. Three-quarter length portrait of bearded man, retired policeman.. Three-quarter length portrait of Brigade-Major Robert Patton, who sits at a table facing left. Small faded print. Three-quarter length portrait of Charles F. Baldwin, an Addiscombe cadet. Three-quarter length portrait of Charles O'Neil Hogg (1799-1873). Three-quarter length portrait of Colonel (later Sir) Henry Yule (standing) and George Udney Yule (seated). Portrait taken at Lucknow on the same occasion as Photo 139/1 (1) and Photo 139/2 (6).This is possibly the portrait by Rowe referred to in the report on the 1862 exhibition of the Bengal Photographic Society: 'Our old firend, Mr Rowe, has not contributed many pictures, but in those which he has sent there is a marked improvement...Mr Rowe's best picture to our taste is that of the two Yules. This is an admirable portrait composition, very speaking, capitally arranged, good in everything but the hands.' (Journal of the Bengal Photographic Society, vol. 1, no. 2, 1 September 1862, p. 46).[Albumen print]. Three-quarter length portrait of Colonel Thomas Donnelly, sitting facing right. The page opposite the print has biographical notes, added later. Three-quarter length portrait of General Sir Frederick Abbott, sitting facing left. The page opposite the print has biographical notes, added later. Three-quarter length portrait of George P. Brown, an Addiscombe cadet. Three-quarter length portrait of Harry L. Mackenzie, an Addiscombe cadet. Original caption mistakenly names him as 'G. Mackenzie'. Three-quarter length portrait of James Prichard Moline (1816-1860), British Army staff surgeon, and his wife. Small faded print. Three-quarter length portrait of Julia and Georgina Showers, daughters of Brigadier St George Showers, sitting at a table. Three-quarter length portrait of Major Henry Parlett Bishop, Bengal Artillery, seated at a table in civilian clothes and posed in the act of writing. The script has apparently been added to the negative.[Albumen print]. Three-quarter length portrait of Marian Murray, sitting facing left. Three-quarter length portrait of Martin Richard Gubbins (1812-1863), Judge of the Agra Chief Court, 1858-63. He resigned from office on health grounds and shortly after committed suicide in England. Three-quarter length portrait of Reverend Benjamin Bailey (1791-1871), seated at a table with a book. Bailey was a missionery in Travancore for 40 years and author of 'A Dictionary, English and Malayalim' (Cottayam, 1849).[Albumen print, inscribed 'Bailey Revd. B. 25,742' in the negative, 167x208mm]. Three-quarter length portrait of Richard Trimen of the 35th (Royal Sussex) Regiment of Foot, who sits holding a tennis racket. Three-quarter length portrait of Robert Alexander, an Addiscombe cadet. Three-quarter length portrait of Robert Alexander smoking a pipe. Three-quarter length portrait of seated monk. Three-quarter length portrait of Sir Jagajit Singh, who sits facing right. Three-quarter length portrait of the Strahan brothers. Later annotations read: '[C. Strahan] 1858-60' and 'George Strahan, 1857-8. Later Colonel George Strahan, Deputy Surveyor General. One of the most brilliant Addiscombe scholars of all time. Still serving in 1894'. Three-quarter length portrait of the Viceroy Lord Canning, showing him seated at a table reading a document. This is probably one of the portraits by Rowe which were pirated and marketed by the London photographer Hering: for a note on the matter, see print 170. For a copy of the pirated image (in carte-de-visite format), see Mss Eur D.661 (14b).[Albumen print, 225x285mm]. Three-quarter length portrait of William Muir (1819-1905), Member of the Board of Revenue at Agra and later Member of the Supreme Council of India. Three-quarter length seated cabinet portrait, in profile, of George Alfred Lefroy (1854-1919), Bishop of Lahore 1899-1912 and of Calcutta 1913-19.[Albumen print, 101x145mm]. Three-quarter length seated cabinet portrait, in uniform, of General Sir James Abbott (1807-1896), Royal Artillery 1823-79, Commissioner of Hazara 1845-53.[Carbon print, 98x139mm]. Three-quarter length seated cabinet portrait.[Albumen print, 100x146mm]. Three-quarter length seated cabinet portrait. Three-quarter length seated cabinet portrait. Three-quarter length seated cabinet portrait of Charles Henry Luard, Royal (Bengal) Engineers 1855-99. Three-quarter length seated cabinet portrait of George Alfred Lefroy (1854-1919), Bishop of Lahore 1899-1912 and of Calcutta 1913-19.[Albumen print, 103x144mm]. Three-quarter length seated cabinet portrait of George Alfred Lefroy (1854-1919), Bishop of Lahore 1899-1912 and of Calcutta 1913-19.[Albumen print, 103x149mm]. Three-quarter length seated cabinet portrait of the composer Edward German (1862-1936), inscribed 'To Miss Edith Barnes from Edward German: 12:7:94.' Edith Barnes (whose maiden name was also Barnes) had in fact married Hugh Shakespear Barnes in 1892 (according to Who was who). Three-quarter length seated carte-de-visite portrait, against a painted backdrop of a European bookcase. '...because there is an almost entire absence of native aristocracy in the province, the only persons who can be classed in this order being the Jageerdar of Yelandoor, a descendant of the celebrated Poornaiya, the Jageerdar of Sivasamoodram, whose ancestor rebuilt the bridges leading to that island...' Three-quarter length seated carte-de-visite portrait, holding a book. Bowring's daughter Mary Lucy Bowring, was born at 3 Middleton Street, Calcutta on 7 November 1859. She died in London, 7 March 1893.[Albumen print, 54x93mm]. Three-quarter length seated carte-de-visite portrait, probably photographed in Calcutta.[Albumen print, 58x96mm]. Three-quarter length seated carte-de-visite portrait: '...a judicial officer of fair talents and good repute, and I found the information furnished by these men very useful in unravelling some of the party intrigues which took place in the province.' Three-quarter length seated carte-de-visite portrait.[Albumen print, 52x80mm)]. Three-quarter length seated carte-de-visite portrait.[Albumen print, 57x95mm]. Three-quarter length seated carte-de-visite portrait.[Albumen print, 60x90mm]. Three-quarter length seated carte-de-visite portrait. Three-quarter length seated carte de visite portrait. Three-quarter length seated carte de visite portrait. Three-quarter length seated carte-de-visite portrait. Three-quarter length seated carte-de-visite portrait. Three-quarter length seated carte de visite portrait. Three-quarter length seated carte de visite portrait (?photograph of a painting). Three-quarter length seated carte de visite portrait of an unidentified elderly man, photographed in Edinburgh. The pair to print 17. Three-quarter length seated carte-de-visite portrait of Binny James Colvin (1809-1895), Bengal Civil Service.[Albumen print, 59x89mm]. Three-quarter length seated carte-de-visite portrait of Charles Vincent Bowie.[Albumen print, 55x87mm]. Three-quarter length seated carte-de-visite portrait of Colonel George Bruce Malleson (1825-1898), Bengal Infantry and Guardian to the Maharaja of Mysore 1869-77.[Albumen print, 58x94mm]. Three-quarter length seated carte-de-visite portrait of Colonel Robertson (no further details), wearing uniform and medals. Probably photographed in Calcutta.[Albumen print, 60x95mm]. Three-quarter length seated carte-de-visite portrait of George Alfred Lefroy, with photographers' stamp of Chunni Lall and Bhawani Ram on the reverse.[Albumen print, 59x91mm]. Three-quarter length seated carte-de-visite portrait of George Alfred Lefroy.[Albumen print, 61x95mm]. Three-quarter length seated carte-de-visite portrait of George Younghusband, the son of Robert Romer Younghusband, by his first wife Ethel (d. 1865).[Albumen print, 60x90mm]. Three-quarter length seated carte-de-visite portrait of Isabella Small, wife of David Henry Small, photographed in Brighton.[Albumen print, 53x86mm]. Three-quarter length seated carte-de-visite portrait of Marianne MacRitchie, 'Missionary in Lovedale - the eldest MacRitchie girl' (note on reverse).[Albumen print, 59x94mm]. Three-quarter length seated carte-de-visite portrait of Mary McLeod, sister of Jane Borthwick Murray.[Albumen print, 61x90mm]. Three-quarter length seated carte-de-visite portrait of Philip Francis Bowring (b. 1871), son of Lewin and Katharine Bowring.[Albumen print, 57x92mm]. Three-quarter length seated carte-de-visite portrait of Sir Edward Clive Bayley (1821-1884). [Albumen print, 60x93mm]. Three-quarter length seated carte-de-visite portrait of the Viceroy Lord Canning, showing him seated at a table reading a document. This is a carte-de-visite copy of a larger version of the portrait. The original is almost certainly by Josiah Rowe and this a pirated copy issued by the London photographer Hering. For a copy of the original portrait (dated 1860), see Mss Eur G.91 (120). See also print 14c of this album.[Albumen print, 54x84mm]. Three-quarter length seated carte-de-visite portrait of the wife of James E. Oliphant. Inscribed on reverse: 'Poona 1874'. Three-quarter length seated carte-de-visite portrait of Williams with two young children seated on his lap. Three-quarter length seated carte-de-visite size portrait, holding a doll. Three-quarter length seated daguerreotype portrait of an unidentified army officer, lightly hand-coloured.Exhibited Museum of Sydney, 'Imagining India', 14 May - 17 August 1997.Exhibited, Brunei Gallery, London, 'India: Pioneering Photographers 1850-1900', 11 October - 12 December 2001.[One-sixth plate daguerreotype in leather case with red velvet lining, stamped 'Newland's Daguerreotype Calcutta' on front cover]. Three-quarter length seated half-profile portrait, in military uniform.[Albumen print]. Three-quarter length seated half-profile portrait.[Albumen print]. Three-quarter length seated oval portrait. Amateur work. Three-quarter length seated oval portrait. Three-quarter length seated oval studio portrait, in uniform. Photograph on porcelain. Royal Engineers. Military Secretary to Lord Curzon, 1899. Three-quarter length seated oval vignette portrait of Captain Alex David Turnbull (d.1864), Bengal Engineers from 1837. Three-quarter length seated portrait, facing right. Three-quarter length seated portrait, his arm around a young girl, presumably his daughter. General Sir George Chesney (1830-1895), Bengal Engineers, was Military Member of the Viceroy's Council 1886-91. Three-quarter length seated portrait, his arm resting on a table on which a book is placed.[Albumen print]. Three-quarter length seated portrait, his left arm resting on a marble-topped table on which a book also sits. Canning is bearded in this portrait. This appears to be the portrait by Benjamin Simpson, which was shown at the Bengal Photographic Society exhibition of 1862: 'No. 1 'Earl Canning' - No one can look at this without emotion. The expression and the sentiment of the head are so refined and gentle. The face and hands are very soft and admirably demi-toned. We would here call attention to a defect in Photography. ; the ground is frequently much out of perspective, and has the same effect as a Chinese drawing; this defect is visible here in the chair and floor' (Journal of the Photographic Society of Bengal, vol. 1, no. 2, 1 September 1862, pp. 45-46). For another copy of this portrait, dated 15 March 1862, see Mss Eur G.91 (169).[Albumen print, 178x220mm]. Three-quarter length seated portrait, his left arm resting on a table. Canning is bearded in this portrait. Photograph uncredited, but probably by Rowe. For another copy of this print, dated 1861 and for a note on the photographer attribution, see Mss Eur D.661 (7). A further copy of this print, in the Howard and Jane Ricketts Collection, is also dated 1861: see John Falconer, 'India: Pioneering Photographers 1850-1900' (British Library, London, 2001).[Albumen print, 188x232mm]. Three-quarter length seated portrait, in a greenhouse or conservatory at Clarendon Lodge, Southampton. Duplicate at print 324. Three-quarter length seated portrait, in Bailey's house at Chumbi. Three-quarter length seated portrait, in civilian clothes, of Capt William B. Cumberland, Bengal Artillery. A yellowed and faded print.[Albumen print]. Three-quarter length seated portrait, in civilian clothes.[Albumen print]. Three-quarter length seated portrait, in civilian dress.[Albumen print]. Three-quarter length seated portrait, in civilian dress. A faded print.[Albumen print]. Three-quarter length seated portrait, in formal dress with ropes of pearls. Photographer's blind stamp is in the bottom right corner. Better copy at Photo 430/42 (1). Three-quarter length seated portrait, in half-profile, of Captain Henry Stuart Bivar, probably photographed at Dibrugarh. Photograph uncredited, but probably by Rev. Higgs (see introduction). Similar mount to prints 107a and 112a.[Albumen print, 105x142mm]. Three-quarter length seated portrait, in uniform, of Col (later General Sir) Charles Reid (1819-1901), Bengal Native Infantry. The print has been severely damaged by attempts to separate it from the page.[Albumen print]. Three-quarter length seated portrait, in uniform, of Field-Marshal Sir George Pollock (1786-1872), Bengal Artillery. Second copy neg at B.8759.[Albumen print]. Three quarter length seated portrait, in uniform, with signature. Three-quarter length seated portrait, in uniform.[Albumen print]. Three-quarter length seated portrait, in uniform. Photograph on opaque glass pane, broken and repaired. Assistant Private Secretary to the Earl of Reading, 1923-5, and to the Earl of Lytton, 1925. Three-quarter length seated portrait, in uniform. Three quarter length seated portrait, in uniform. Three-quarter length seated portrait, in uniform. Three-quarter length seated portrait, looking full face to the camera and holding a pair of cymbals. The background has been masked or bleached out. Three-quarter length seated portrait, probably photographed at Lucknow. This is probably Robert Henry Pomeroy, who entered the Bengal Civil Service in 1856 and died at Ghazipur in 1857. Three-quarter length seated portrait, probably photographed at Lucknow Three-quarter length seated portrait, sepia toned, taken on the same occasion as prints 39-43, but in a slightly different pose.[151x198mm]. Three-quarter length seated portrait, sepia toned. For a hand-coloured version of this portrait, see print 39. Four copies.[149x199mm]. Three-quarter length seated portrait, signed 'Prabhu Narain, 1904'. Three-quarter length seated portrait, the sitter facing left. Three-quarter length seated portrait, very faded, laid down on a card mount with elaborate border decorations and an inscription in Urdu. Three quarter length seated portrait, with signature. Three-quarter length seated portrait; faded.[Albumen print]. Three-quarter length seated portrait.[Albumen print, 97x119mm]. Three-quarter length seated portrait.[Albumen print, 98x119mm]. Three-quarter length seated portrait.[Albumen print, oval image]. Three-quarter length seated portrait.[Albumen print, oval image]. Three-quarter length seated portrait.[Albumen print]. Three-quarter length seated portrait.[Albumen print]. Three-quarter length seated portrait.[Albumen print]. Three-quarter length seated portrait.[Gelatin silver print, 92x141mm]. Three-quarter length seated portrait.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001.Exhibited in 'India: Pioneering Photographers 1850-1900', Brunei Gallery, London, 11 October - 12 December 2001.Exhibited, Empire and Commonwealth Museum, Bristol, 'India: Pioneering Photographers 1850-1900', 26 September- 24 December 2002. Three-quarter length seated portrait. For uncoloured copies of this portrait, see prints 40-43.[Hand-coloured print, 151x204mm]. Three-quarter length seated portrait. Hand-coloured print. Three-quarter length seated portrait. No biographical information. Three-quarter length seated portrait. Presented to the India Office Library by Colonel Alister Jamieson, Indian Army (retd.) Three-quarter length seated portrait. Recorded as L. Lawder in the list of orderly officers in H.M. Vibart, 'Addiscombe its heroes and men of note (London, 1894, p. 319), but probably James Lawder (b. 1823). Another copy at Photo 799 (12).[Albumen print, 109x141mm]. Three-quarter length seated portrait. Second copy neg at B.25495. Three-quarter length seated portrait. Second copy neg at B.8693.[Albumen print]. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. Three-quarter length seated portrait. The subject is facing left. Three-quarter length seated portrait (considerable fading). Three-quarter length seated portrait of (Sir) Charles John Wingfield, Chief Commissioner of Oudh 1859-65. Probably photographed at Lucknow. Three-quarter length seated portrait of Alice Marshman, photographed by Monsieur A. Boucher of Brighton.[Albumen print, 58x91mm]. Three-quarter length seated portrait of an unidentified army officer, photographed in London. Hand-coloured collodion positive. Three-quarter length seated portrait of an unidentified army officer. The caption accompanying the identifies the sitter as the Viceroy Lord Lawrence. This is incorrect, although this may be Sir George St Patrick Lawrence (1804-1884). Three-quarter length seated portrait of an unidentified man, possibly a Shan Sawbwa.[Gelatin silver print, 74x97mm]. Three-quarter length seated portrait of an unidentified man.[Albumen print, 120x147mm]. Three-quarter length seated portrait of an unidentified man.[Albumen print, 134x160mm]. Three-quarter length seated portrait of an unidentified man.[Albumen print, oval image, 50x76mm]. Three-quarter length seated portrait of Captain (later Major-General) John Paton Martin (1833-1911), Bengal Artillery. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 91x125mm]. Three-quarter length seated portrait of Captain Alfred Blunt, 13th Bengal Native Infantry, District Superintendent of Police 1st Grade.[?Lightly albumenised salt print, 92x113mm]. Three-quarter length seated portrait of Capt Frederick Murray Hay Forbes, Bengal Artillery, and his wife. Second copy neg at B.8712.[Albumen print, oval image]. Three-quarter length seated portrait of Capt Welby Wroughton Boddam, Bengal Native Infantry. Second copy neg at B. 8692.[Albumen print]. Three-quarter length seated portrait of Charles Edward Cumberland, Royal Engineers 1847-87.[Albumen print, 107x146mm]. Three-quarter length seated portrait of Charles Herbert Sedley (d. 1866), Royal Engineers from 1846.[Albumen print, 102x133mm]. Three-quarter length seated portrait of Colonel (later Major-General) David Reid (1813-1876), Bengal Artillery from 1830. Reid commanded the local corps of Artillery formed in Assam in 1840 for over 20 years and also served in the Public Works Department in Upper Assam. Photograph uncredited, but probably by Rev. Higgs (see introduction). The portrait is in a similar style and on a similar mount to print 107a.[Albumen print, 106x135mm]. Three-quarter length seated portrait of Colonel Arthur William Garnett (1829-1861), Bengal Engineers. With note: 'Died at Calcutta May 1st 1861'. Three-quarter length seated portrait of Colonel Michael John Rowlandson (b. 1804), Madras Infantry 1820, Professor of Hindustani at Addiscombe from 1851. Portrait reproduced in H.M. Vibart, 'Addiscombe its heroes and men of note' (London, 1894, p. 217).[Albumen print, 117x143mm]. Three-quarter length seated portrait of Colonel Simon Fraser Hannay (1801-1861), Commandant of the 1st Assam Light Infantry Battalion 1839-61. His surname is also spelt Hannah in some sources (for instance Hodson). Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 110x135mm]. Three-quarter length seated portrait of Frederick Eden Elliot, Indian Civil Service, wearing a hat and draped in a striped blanket. A faded print.[Albumen print, 66x104mm]. Three-quarter length seated portrait of Frederick William Latimer (1845-1910), Assistant Private Secretary to the Viceroy 1895-1904.[Platinum print]. Three-quarter length seated portrait of George Bent (d. 1897), Royal Engineers 1838-73.[Albumen print, 123x161mm]. Three-quarter length seated portrait of Henry Schaw (1829-1902).[Albumen print, 122x147mm]. Three-quarter length seated portrait of Henry William Gulliver (d.1896), Bengal Engineers 1845-82. A faded portion cut from a larger group. Three-quarter length seated portrait of John Barclay Scriven (1828-1905), Bengal Medical Service 1851-81, with a skull and an open book placed on the table beside him. Second copy neg at B.8697.[Albumen print]. Three-quarter length seated portrait of John Beames (1837-1902) at the start of his civil service career.[Albumen print, 65x104mm]. Three-quarter length seated portrait of John Callow, appointed Junior Professor in 1855. Duplicate at Photo 799 (58). Three-quarter length seated portrait of John Hallett Batten, Bengal Civil Service.[Albumen print]. Three-quarter length seated portrait of John Walpole (1796-1864), Royal Engineers from 1816.[Albumen print, 120x156mm]. Three-quarter length seated portrait of John William Younghusband, the father of Sir Francis Younghusband. In oval matt and mounted in leather case, lined with velvet and with metal clasps.[Albumen print, oval image, 102x140mm]. Three-quarter length seated portrait of Joseph Hendy Smith. Three-quarter length seated portrait of Keith David Erskine. Three-quarter length seated portrait of Lieutenant James Shaw Gibb.[Albumen print, 117x146mm]. Three-quarter length seated portrait of Major-General George Harper Saxton (1820-1901), Madras Army -75.[Albumen print, 117x145mm]. Three-quarter length seated portrait of Major-General Henry Eyre (c. 1806-1889), Commandant, Chatham District 1856-64.[Albumen print, 123x130mm]. Three-quarter length seated portrait of Margaretha Gertruida MacLeod (1876-1917), alias Mata Hari, in dancing costume. She was found guilty of espionage for the Germans and executed in 1917. The letter accompanying the photograph, dated Paris, 8th August 1917, reads as follows: Dear Mr Wallinger,It may be interesting for you to know that the woman ZELLE MARGUERITE, who was sentenced to death, in the end of last month, by the Court Martial of Paris, for intelligence with the enemy, is the widow of MACLEOD, officer in the Danish Army who, it is said, has served in INDIA (Danish colonies) for several years.During her sojourn in INDIA, ZELLE Marguerite learnt the Brahminical danses and, in 1905, she began to produce herself on stage in several great cities of Europe.She was then known under the name of MATA HARI, as she was very clever, in her danses, she earned important sums of money and, being good looking woman, she had lovers who helped her financially.ZELLE Marguerite, alias, MATA-HARI, who is of Danish nationality, was born in LEUWARDEN (Belgium) in 1876 (7th Augt). She was found guilty of having, in 1916, introduced herself in the war-zone in Paris for the purpose of collecting informations in the interest of Germany; to have in France and abroad given to Germany informations capable to be prejudicial to the operations of our armies; to have entertained intelligences with German diplomatic agents in view of helping the enterprises of our ennemies by the way of communicating them secrets concerning our home politics and the offensive of last spring.Yours truly,Folatre'Chambers Biographical Dictionary' (1997 edition) states that her husband was a Scottish officer in the Dutch army, whom she had married in 1895.[Gelatin silver print, 114x196mm]. Three-quarter length seated portrait of Michael John Rowlandson (b.1804). Three-quarter length seated portrait of Parry Lambert (d. 1892), Royal (Bengal) Engineers 1855-92, Public Works Department in 1860s.[Albumen print, oval vignetted image, 110x150mm]. Three-quarter length seated portrait of Queen Sri Sawarinthira (1862-1955). A copy of this print was exhibited in Bangkok in 1996: 'Queen Sri Sawarinthira, also known as Queen Sawang Watthana, was the mother of Crown Prince Vajirunhis, and also of Prince Mahidol, founder of Thailand's first medical college, and father of the present King Bhumibol, as well as of six other princes and princesses. She gave birth to the Crown Prince when she was only fourteen, and lived to the age of 93, when she was the oldest Queen in modern history' (Henry Ginsburg, 'Thai Art and Culture. Historic Manuscripts from Western Collections' (British Library, London, 2000, p. 49).[Albumen print, 216x268mm]. Three-quarter length seated portrait of Rev. Jonathon Cape (c. 1794-1868), Senior Professor of Mathematics at Addiscombe. Cape taught at the college from 1822 until its closure in 1861. Head-and-shoulders portion of this portrait reproduced in H.M. Vibart, 'Addiscombe its heroes and men of note' (London, 1894, p. 79).[Albumen print, 153x184mm]. Three-quarter length seated portrait of Robert Caesar Childers (1838-1876), Ceylon Civil Service 1860-64, Porfessor of Pali and Buddhist Literature at University College, London 1873-76; Librarian at the India Office 1873-76.[Albumen print, with light hand-colouring on lips and eyes, 150x200mm]. Three-quarter length seated portrait of Robert Vansittart Riddell. Three-quarter length seated portrait of Samuel Anderson (1839-1881), Royal Engineers from 1858, Secretary to the North American Boundary Commission of 1869 and Chief Commissioner 1872.[Albumen print, 122x142mm]. Three-quarter length seated portrait of Simon Nicolson Martin. Three-quarter length seated portrait of Sir Edward Fitzgerald Campbell (1822-1884), Military Secretary to Lord Canning, with his young daughter Annie Charlotte (1859-1947) sitting on his lap. Note beneath print in Lady Bayley's hand reads: 'Annie Charlotte born July 1859. Sir E.C. was Military Secretary to Viceroy from 1859 to March 1861.' [Albumen print, 116x145mm]. Three-quarter length seated portrait of Sir Frederick Abbott (1805-1892), Bengal Engineers 1823, Lieutenant-Governor of Addiscombe 1851-61.[Albumen print, 107x133mm]. Three-quarter length seated portrait of Sir Richard Hieram Sankey (b.1829), Madras Engineers, Chief Engineer in Mysore 1864-77. Three-quarter length seated portrait of Surgeon Robert Hutchinson. Three-quarter length seated portrait of the Parsi Sir Dinshaw Wacha, Member of the Council of State, Bombay. Portrait mounted in folder with photographer's name blind embossed on mount. Three-quarter length seated portrait of the wife of Robert Maclagan. Three-quarter length seated portrait of William Ashmead Tate (1795-c.1874), Professor of Military Drawing at Addiscombe from 1849-59. Three-quarter length seated portrait of William Hassall Eden (1800-1882), Commandant, Chatham District 1854-58.[Albumen print, 119x99mm]. Three-quarter length seated portrait of William Henry Wikins. Three-quarter length seated portraits. Three-quarter length seated profile portrait. Three-quarter length seated stereoscopic daguerreotype portrait, hand-coloured, with viewer built into case. A handwritten note in the case reads: 'My father's portrait taken in Calcutta in his new full dress uniform on Christmas Day 1856. It cost nearly �100. He had just been made a Lieutenant and had passed an examination for the Staff Corps. Writing on January 24th 1857 he says that the likeness makes him look too old and that it is very badly painted. D. Graham 11/41.' Three-quarter length seated studio portrait, in civil service uniform. Assistant Private Secretary to the Earl of Lytton, May-Aug 1925, to the Earl of Reading, 1925-6, to Lord Irwin, 1926-7. Three-quarter length seated studio portrait, in civil service uniform. Photograph on frosted glass pane, cleanly broken in half. IPs 1920-47.Assistant Private Secretary to Lord Reading, 1921-2. Three-quarter length seated studio portrait, in civil service uniform. Private Secretary to the Earl of Elgin, 1862-3. Three-quarter length seated studio portrait, in military uniform, of William Riddell Birdwood (1865-1951), 1st Baron Birdwood, Commander-in-Chief, India 1925-30. Signed 'W.R. Birdwood 1930'. Three-quarter length seated studio portrait, in profile. Three-quarter length seated studio portrait, in uniform, of Frederick Charles Maisey (1825-1892), Bengal Army, author of 'Sanchi and its Remains' (London, 1892).[Albumen print, 149x196mm]. Three-quarter length seated studio portrait, signed 'Eug�nie Wavell 1947'. Three-quarter length seated studio portrait, signed 'Yours sincerely Bhawani Singh 1913.' Pencilled note on reverse reads 'Raja of Jhalrapatan, Rajputana, 1913.' Jhalrapatan was the commercial capital of Jhalawar State. Probably photographed in London. Three-quarter length seated studio portrait, somewhat faded. 'He was careful to explain that, having been taken by a Persian artist, the likeness entirely failed to do him justice, a criticism which I am bound to endorse, as, though an ugly, he was in no sense a forbidding-looking man, but wore an air both of authority and of intelligence' (p.104). Three-quarter length seated studio portrait.[Albumen print, 183x281mm]. Three-quarter length seated studio portrait. Three-quarter length seated studio portrait. Three-quarter length seated studio portrait. Three-quarter length seated studio portrait of an officer in civil service uniform. Unidentified, but probably Newmarch, who was Political Agent at Bhopal at the time of Curzon's visit. Three-quarter length seated studio portrait of Lady Curzon. Three-quarter length seated studio portrait of Monorama Bose (1864-1931), a teacher at Victoria School, Lahore in c. 1920.[Sepia toned print, 150x209mm]. Three-quarter length self-portrait? He sits facing right, holding a photograph and walking stick. Duplicate at Print 393. Three-quarter length snapshot portrait of the Sawbwa of Keng Tung at the Delhi Durbar, taken just before or after the official portrait of Shan Chiefs.[Printing-out paper, 103x75mm]. Three-quarter length standing, facing right. Three-quarter length standing cabinet portrait.[Albumen print, 101x142mm]. Three-quarter length standing cabinet portrait of Colin Murray (1840-1884), wearing a tam o'shanter. See biographical note at print 1. Three-quarter length standing cabinet portrait of Jane Borthwick Murray, wife of Colin Murray.[Albumen print, 95x150mm]. Three-quarter length standing carte-de-visite portrait, in uniform. Three-quarter length standing carte-de-visite portrait, in uniform. Three-quarter length standing carte-de-visite portrait, posed in the act of reading a letter. Presumably the daughter of Willy Gillilan (print 77) and Mrs Gillilan (print 80). Three-quarter length standing carte de visite portrait, probably photographed at Bourne & Shepherd's Bombay studio. For an uncropped version of this portrait (cabinet print size), see Mss Eur G.38/2 (107f). Three-quarter length standing carte-de-visite portrait.[Albumen print, 56x89mm]. Three-quarter length standing carte-de-visite portrait.[Albumen print, 60x90mm]. Three-quarter length standing carte-de-visite portrait. Identification uncertain: the print has the look of a photograph dating from the 1870s, in which case the figure looks to be too old to be J.W. Younghusband.[Albumen print, 60x94mm]. Three-quarter length standing carte de visite portrait. Three-quarter length standing carte-de-visite portrait. Three-quarter length standing carte de visite portrait. Three-quarter length standing carte-de-visite portrait. This is the same portrait as print 2, but cropped down from cabinet size.[Albumen print, 58x96mm]. Three-quarter length standing carte-de-visite portrait of Alexandra, Princess of Wales (1844-1925). The photograph was probably taken on the same occasion as print 1.[Albumen print, 55x90mm.] Three-quarter length standing carte-de-visite portrait of Blanche Hogg, daughter of Theodore William and Blanche Hogg. Three-quarter length standing carte-de-visite portrait of Charles Hogg in fancy dress, hand-coloured. Three-quarter length standing carte-de-visite portrait of Clara Jane Younghusband, photographed in Bath.[Albumen print, 60x94mm]. Three-quarter length standing carte-de-visite portrait of Edith Mary Bowring (b. 1876), daughter of Lewin and Katharine Bowring. [Albumen print, 58x88mm]. Three-quarter length standing carte-de-visite portrait of Frank Campbell (1849/50-1894), son of Charles Wright Younghusband.[Albumen print, 60x90mm]. Three-quarter length standing carte-de-visite portrait of Ignatius William Bowring (b. 1880), son of Lewin and Katharine Bowring.[Albumen print, 59x89mm]. Three-quarter length standing carte-de-visite portrait of Lady Hannah Havelock, wife of Sir Henry Havelock. Insribed on the reverse 'March 13th 1866, to my dear brother from H.S.H.' Hannah Havelock was a sister of John Clarke Marshman (see print 1) and hence a great-aunt of Frederick Marshman Bailey.[Albumen print, 57x89mm]. Three-quarter length standing carte-de-visite portrait of Lady Victoria Charlotte Isabella Probyn (d.1911).[Albumen print, 60x90mm]. Three-quarter length standing carte-de-visite portrait of Mary Hogg, daughter of Charles Magenis and Mary Hogg. Three-quarter length standing carte-de-visite portrait of Mary Hogg. Three-quarter length standing carte-de-visite portrait of Monica Bellasis, daughter of Serjeant Edward Bellasis.[Albumen print, 61x93mm]. Three-quarter length standing carte-de-visite portrait of Richard Bellasis, brother of Katharine Bellasis, Lewin Bowring's second wife.[Albumen print, 52x88mm]. Three-quarter length standing carte-de-visite portrait of Sir Harcourt Butler (1869-1938) as a child. He is photographed leaning against a table holding a cricket bat.[Albumen print, 60x93mm]. Three-quarter length standing carte-de-visite portrait of Sir Lesley Charles Probyn (1834-1916), Bengal Civil Service 1854-79.[Albumen print, 60x90mm]. Three-quarter length standing carte-de-visite portrait of the daughter of Charles Magenis and Mary Hogg. Three-quarter length standing in formal dress. Three-quarter length standing informal portrait. Three-quarter length standing oval studio portrait, in uniform. Photograph on porcelain. 6th Regiment (Inniskilling Dragoons). Military Secretary to the Earl of Mayo, 1869-72. Three-quarter length standing oval studio portrait, in uniform. Photograph on porcelain. 88th Foot (Connaught Rangers). Military Secretary to the Earl of Lytton, 1880. Three-quarter length standing oval studio portrait, in uniform. Photograph on porcelain. 9th Lancers. Military Secretary to the Earl of Minto, 1907-10. Three-quarter length standing oval studio portrait. Photograph on porcelain. Scots Guards. Military Secretary to Lord Minto, 1905-7. Three quarter length standing portrait, in academic robes, with signature. Three-quarter length standing portrait, in civilian suit and hat. Three-quarter length standing portrait, in clerical vestments, of George Alfred Lefroy (1854-1919), Bishop of Lahore 1899-1912 and of Calcutta 1913-19.[Albumen print, 100x146mm]. Three-quarter length standing portrait, informally posed. Three-quarter length standing portrait, in half-profile, of Georgiana Charlotte Theophilia Campbell (d. 1872), wife of Sir Edward Campbell. A note in Lady Bayley's hand reads: 'My dear sister': the two women were daughters of Sir Thomas Theophilus Metcalfe (1795-1853), formerly the Governor-General's Agent at the Court of Delhi.[Albumen print,116x172mm]. Three-quarter length standing portrait, in military uniform, of Robert Moir (1831-1899), his right hand resting on the back of a chair. Copy print.[Albumen print, 84x115mm]. Three-quarter length standing portrait, in uniform, of Colonel Edward Daniel Hamilton Vibart (1837-1923), 15th Bengal Cavalry. The mount is inscribed on the reverse 'With best wishes, Christmas 1898'. The file also contains a half-tone reproduction of a similar portrait, evidently taken on the same occasion, and a copy print of this reproduction (incorrectly identified on the back as being of Colonel Henry Meredith Vibart).[Platinum print, mounted on board with photographer's stamp, 100x145mm]. Three-quarter length standing portrait, in uniform, of Lieutenant Thomas Edward Lewis (b. 1827), Indian Navy from 1842. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 106x138mm]. Three quarter length standing portrait, in uniform, with signature. Three quarter length standing portrait, in uniform, with signature. Three-quarter length standing portrait, in uniform. Caption notes read: 'Lieut.-Col. Desaraj Arasu commenced his military career as attach� in the Mysore Military Department in August 1884. He saw active service in Burmah with the 3rd Madras Light Cavalry, 1886-1887, and, on his return to India,was appointed Assistant to the Military Secretary and Aide-de-Camp to H.H. the late Maharaja, in December 1887. He was appointed Commandant of the Imperial Service Regiment in 1894 and gazetted Lieutenant-Colonel in the Mysore Army in February 1895; in August 1897 he was confirmed Chief Commandant of the Mysore State Troops. He is married to the second Princess.' Second copy neg at B.5868. Three-quarter length standing portrait, in uniform (Mutiny veteran?). Three-quarter length standing portrait.[Albumen print, 118x146mm]. Three-quarter length standing portrait.[Platinum print.] Three-quarter length standing portrait. Charles Metcalfe was the son of Thomas Theophilus Metcalfe, whose house played a prominent role in the siege of Delhi. Three-quarter length standing portrait. Duplicate at Photo 430/40 (2). Three-quarter length standing portrait. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 86x118mm]. Three-quarter length standing portrait. Reproduced in Earl of Ronaldshay, 'Sports and Politics under an Eastern Sky' (Blackwood, Edinburgh and London, 1902), p. 55. Another copy at Photo 364/5(6). Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. Three-quarter length standing portrait. The photograph is also reproduced in 'History of the Second Panjab Cavalry from 1849 to 1886' (London, 1888). Three-quarter length standing portrait. This appears to be an earlier photograph (1870s-80s?) that has been touched up to make the Nawab look older (grey moustache etc). Three-quarter length standing portrait of a man. Three-quarter length standing portrait of a Pathan in the Shan Levies. Probably photographed at Mong Nai.[Gelatin silver print, 74x98mm]. Three-quarter length standing portrait of Arthur Blayney Coddington (d. 1888), Royal Engineers from 1857.[Albumen print, 103x145mm]. Three-quarter length standing portrait of a uniformed officer. Three-quarter length standing portrait of Charles Bowles (b. 1810), Professor of Hindustani at Addiscombe 1829-59, nicknamed 'Chaw' owing to his eccentric pronounciation of Indian words (he never visited the subcontinent). Head-and-shoulders portion reproduced in H.M. Vibart, 'Addiscombe its heroes and men of note' (London, 1894, p. 73).[Albumen print, oval image,172x214mm]. Three-quarter length standing portrait of Clara Mary Aloysia Bowring (b. 1883), daughter of Lewin Bentham and Katharine Bowring.[Silver printing-out paper, 64x84mm]. Three-quarter length standing portrait of Din Mohamed, '...a little monkey of a man, but as tough and tireless as a mountain goat, and the best cook one could ever hope to meet.'[Gelatin silver print, 90x141mm]. Three-quarter length standing portrait of Glastonbury Neville (d. 1858), Royal Engineers from 1847, killed in action at Barodia, Central India, 31 January 1858.[Albumen print, 115x166mm]. Three-quarter length standing portrait of Honorius Sisson Sitwell (d. 1891), Royal Engineers from 1857.[Albumen print, 97x146mm]. Three-quarter length standing portrait of Midshipman Arthur Mayo (1840-1920), Indian Navy 1857-60. Mayo won the VC in 1857. Photograph uncredited, but probably by Rev. Higgs (see introduction).[Albumen print, 107x138mm]. Three-quarter length standing portrait of Sir Frederick (1805-1892) and Lady Abbott. Sir Frederick was Lieutenant-Governor of Addiscombe College 1850-61. Three-quarter length standing portrait of Sir Richard Morris Hope. Three-quarter length standing portrait of Surgeon-General Joseph Christian Corbyn (1829-1912), Indian Medical Service (Bengal) 1851-79.[Albumen print, 99x140mm]. Three-quarter length standing portrait of Umed Singh. Three-quarter length standing studio portrait, in civil service uniform. Assistant Private Secretary to Lord Irwin, 1929-31, and to Earl of Willingdon, Apr-Jul 1931. Three-quarter length standing studio portrait, in civil service uniform. Assistant Private Secretary to the Earl of Willingdon, 1934-6, and to the Marquess of Linlithgow, 1936-8. Three-quarter length standing studio portrait, in civil service uniform. Assistant Private Secretary to the Marquess of Linlithgow, 1937-9, and Deputy Private Secretary, Jun-Aug 1939. Three-quarter length standing studio portrait, in civil service uniform. Private Secretary to the Earl of Willingdon, 1933-4. Three-quarter length standing studio portrait, in civil service uniform. Three-quarter length standing studio portrait, in military uniform with a fur-trimmed coat over his shoulders, of Sir George Olof Roos-Keppel (1866-1921), Chief Commissioner N.W.F.P. 1908-19. Signed and dated 1 January 1912.[149x204mm]. Three-quarter length standing studio portrait, in uniform, of Field Marshal Lord Napier of Magdala (1810-1890).[Albumen print, 98x144mm]. Three-quarter length standing studio portrait, in uniform. Photograph on porcelain. Private Secretary to the Earl of Mayo, 1868-72, and to the Earl of Lyyton, 1876-8. Three-quarter length standing studio portrait, taken in London.Exhibited in 'India Through the Lens', Arthur M. Sackler Gallery, Washington, December 2000 to March 2001. Three-quarter length standing studio portrait, wearing civil service uniform and medals.[Gelatin silver print, 206x288mm]. Three-quarter length standing studio portrait.[Sepia-toned gelatin silver print, 99x146mm]. Three-quarter length standing studio portrait. Duplicate at print 331. Three-quarter length standing studio portrait. Three-quarter length standing studio portrait. Three-quarter length standing studio portrait. Three-quarter length standing studio portrait. Three-quarter length standing studio portrait against a plain dark background, wearing a turban and medals and with his hands resting on a sword. Hari Singh (b. 1895), ruled the state from 1925 until his abdication in 1947. Three-quarter length standing studio portrait of an unidentified army officer, in uniform. Print mounted on 'Imperial' size mount. Three-quarter length standing studio portrait of an unidentified man. Three-quarter length standing studio portrait of Sir Herbert John Maynard in Vice-Chancellor's robes.[Gelatin silver print, 135x194mm]. Three-quarter length standing studio portrait of the pair, carte-de visite size. Similar to Photo 430/74 (19). Three-quarter length standing studio portrait of the son of the Mir of Khairpur, probably aged about twelve and dressed in a European suit. The mount is signed 'Yours affectionately George Ali Murad 25 December 1945'. Three-quarter length studio portrait, in civil service uniform. Indian Civil Service, 1891, Governor of Bihar and Orissa, 1922-27, Member of Council of India, 1927-37. Three-quarter length studio portrait. Modern typed caption on verso reads: 'Emily Lily Holmes, wife of W.D. Holmes, mother of R.B. Holmes and siblings. Born in England, 1855, died in Peshawar, 1896'. Three-quarter length studio portrait. Three-quarter length studio portrait. Three-quarter length studio portrait. Three-quarter length studio portrait. The photographer is unknown but the backdrop is the same as that used in several photographs in Photo 780. Three-quarter length studio portrait of Peter Ernest Slack. Three-quarter llength portrait of an Addiscombe cadet, sitting facing left. A later annotation reads: 'Charles A. Sim, 1857-8. Qualified for Engineers'. Three-quarter seated portrait of Charles Arthur Madan Warde (1839-1912), Bengal Artillery 1857-76. In civilian clothes. See print 13 for a better portriait.[Albumen print, oval image]. Three snapshot portraits, unidentified apart from print 101, which shows Sir Harcourt Butler in academic robes.[Gelatin silver prints]. Three snapshots of Sir Harcourt Butler with Georges Clemenceau during the latter's visit to India and the Far East.[Gelatin silver prints]. Three women, posed in a garden. Three young girls posed holding brass pots. Tibetan group with unidentified European (back to camera). Tibetan man leading two horses along a path. Tibetan pupil with wooden writing board.[Gelatin silver print, 78x113mm]. Tintype photograph. Tom Foulkes posed with recently shot antelope. Trevor-Jones and group of PWD engineers posed beside an irrigation pump. Trooper on horseback, with bugle raised to lips.[Albumen print, 370x308mm]. Troop of mounted cavalrymen with lances.[Albumen print, 382x308mm]. Troop of Mounted Infantry on parade. Tsarong Shap� (in European dress) with members of his family in the Residency garden. Two children, seated on horseback with an Indian servant standing in attendance. Duplicates at Photo 752/12 (40) and Photo 1143/1 (55); in the latter the children are identified as Dighton Pollock and M. Pollock, presumably the children of Sir Frederick Richard Pollock (1827-1899), Commissioner of Peshawar. Second copy neg at B.7935. Two children with young woman in garden. Two copies, one a slightly enlarged version. Two copies of a formal group portrait of B Company, with some identifications written in pencil on the back of the larger print.[245x178mm and 135x86mm]. Two couples posed in garden. Two divers with equipment.[Printing-out paper, 303x245mm]. Two European figures sitting on the sand at Manora. Two European posed with a large collection of hunting trophies: leopard and bear skins, gazelle, markhor and mountain goat heads.[Albumen print, signed 'Burke 1199 Trophies of Kashmire' in the negative, 214x286mm]. Two European seated at camp table. Two Europeans seated in a rickshaw, with pullers and servants grouped around them. The two seated figures are identified on the reverse of the print as 'Peace, Hants Artillery, in Khaki, Rivett in mufti'. Two Europeans with ponies and Burmese and Indian servants in attendance, probably in Burma. Further annotations on the reverse read: 'Uncle Ernest was for long Resident Magistrate at Port Darwin & died there, ? not long after the end of world war I....(My father went on sick leave to Australia in 1886-7 (?) & saw E[rnest] there working as an ostler & E returned the visit & stayed with father in India. But when father tried to persuade E to enter the Indian Police, E said nothing would induce him to serve in a country where one had to wear a topee)'. Two figures standing on a mountain road, probably taken on the same occasion as print 70.[Gelatin silver print, mounted on card, 203x253mm]. Two head-and-shoulders portraits of Naubat Khan: the first is a cropped version of print 4, showing him in his usual dress (smiling); the second shows him in Persian clothes and fez (frowning). Two hunters, identified as Mameloo and Mahomed, posed with two urial (wild goat) heads.[139x83mm]. Two Indian figures atnding beside their horses. No further information supplied.[153x96mm]. Two Indians carrying a black buck slung over a pole.[Gelatin silver print, 134x77mm]. Two men, a woman and baby, posed outside a building. Two men and a woman seated round a table in a garden.[Printing-out paper, 99x76mm]. Two men seated on a carpet in front of the wall also seen in print 85. Musa Khwoja is presumably the figure on the left, seated on a chair. Two men standing holding fish outside a bungalow. Two of the Europeans are sitting on chairs, the other two standing under umbrellas held by attendants. The camp appears to be on Bombay's Esplanade. Two policemen posed on the deck of Bailey's sailing boat on the Euphrates. Two prints joined together as if to form one. The Russian military attach� and his aide appears in both. From left to right across both prints: Teague-Jones, Russian military attach�, his aide, Major Bingham.[Gelatin silver prints, 110x63mm]. Two shikaris posed with the heads of two large urial (wild goat). The men's guns have curved wooden stands to support the barrel.[108x164mm]. Two Tibetans on an egg-gathering expedition, standing waist-deep in the lake. Two unidentified children on deck. Small snapshot. Two unidentified officers. Negative only, no print. Two women and a man posed in front of trees. Two women and a man seated with dogs in a garden. The woman on the right is also the subject of print 52. Udaibhan Singh, Maharaj Rana of Dholpur, seated at the wheel of a Rolls-Royce, with Edwin Samuel Montagu beside him. Behind are the Earl of Donoughmore, Alan Parsons and Ralph Verney.[Gelatin silver print, 342x238mm]. Uncaptioned (apart from date) and location unspecified. Uncaptioned European group, with Sir Francis Younghusband standing in the back row on the left. The photograph presumably relates to the handwritten invitation pasted onto the facing page, in which Umaid Singh, Maharao of Kota, 'requests the honor of Captain and Mrs Younghusband's company at Kotah from the 28th December 1898 to 3rd January 1899, on the occasion of the restoration of Jhallawar Purganahs to the Kotah State.'[Silver printing-out paper, poor condition, 29x217mm]. Uncaptioned formal group portrait. Uncaptioned print, probably at Ajanta or Ellora. Uncaptioned print. The men are sitting in a long shallow boat with a small cabin. Uncaptioned prints. Unclear as to there occupation. Possibly connected in some way with the Boer War (POW's?). One sitter is described as a 'Mining Inspector' implying an engineering connection. All are named. Unidentified European (?possibly Frederick Marshman Bailey) in heavy clothing. Unidentified European photographed with horse.[Gelatin silver print, 279x228mm]. Unidentified European woman feeding monkeys on the edge of the tank.[Gelatin silver print, stamped 'R.S.J., A.R.P.S. (Eng.), Jhalawar', 287x213mm]. Unidentified family group seated in front of a corrugated iron shed. Unidentified group, apart from James Sifton, standing second from right. Of the three Indian figures seated in the front row, two wear Indian dress, while the central figure is in civil service uniform. This central figure is probably the author of the signature at the bottom right of the print, reading 'Yours sincerely W. [M.?] Singh'. Unidentified group, presumably of Royal Engineers officers, in civilian dress.[Albumen print, 202x141mm]. Unidentified group posed in front of house, probably at Madura. Unidentified group with Hugh Dow seated in the centre.[Sepia toned print, 282x219mm]. Unidentified man seated in a garden. Unidentified woman missionary holding a young Indian child.[Gelatin silver print, 86 x 131 mm]. Uniformed group posed with rifles beside table holding cups. The photograph is taken in front of the arcade of the same building seen in print 32, and it is assumed that it was taken on the same occasion. Possibly men of the South Indian Railway Volunteer Corps. Uniformed police group. Three officers in middle of front row are identified as J.A. Scroggie; Beatty (or Beaty); Clarke (or Clark). The sergeant on the extreme left of middle row may by Disney. Uniformed servant holding horse. Uniformed Sikh policemen posed on Blake Pier. Similar to print 27. Uniforms are similar to group in Photo 469/12. Unnamed European group sitting on steps in front of Colonel Keyes' house. The garrison consisted of regiments of native infantry and cavalry, mountain battery and frontier units. Although none of the sitters are identified here, several men appear in portraits in this and other collections including Lieut J.C. Stewart, Lieut A. FitzHugh, Major T.E. Hughes, Lieut W. Snow, Captain W.H. Paget, Lieut G.B. Crispin and Captain G.C. Bird.[Albumen print, 234x175mm]. Unnamed group. Only Major T.G. Kennedy sitting second from left can be positiviely identified and the man sitting on the ground on the right looks like Lieut G.C. Bird (see Print 35). Unsharp print. Yezidi group osed in front of aircraft. Variant of print 20, taken on the same occasion, with the same sitters.[Albumen print, 145x101mm]. Variant of print 90a, head held in slightly different position. Variant of prints 17-18: sitters in slightly different postures.[Silver printing-out paper, 292x204mm]. Various groups posed with dead tigers, sambhar and chital and one print showing Governor's party boarding train. One print entitled 'Lord Wimborne's Cheetal'. This is presumably Ivor Churchill Guest (1873-1939), 1st Viscount Wimborne.[Gelatin silver prints]. Various polo teams including the 11th Bengal Lancers (Probyn's Horse).Exhibited Museum of Sydney, Imagining India, 16 May - 17 August 1997. Very faded print. The horses are named below the print. Very faded snapshot, probably taken in India. Very poor condition, parts of print missing.[?Gelatin silver print, 101x74mm]. Very poor condition. Very poor quality image, dark and printed from a broken negative. Group of Zampoin, his wife and military officers. see note at print 376. Very poor quality print. Very similar portrait to Print 1. Very similar to Mss Eur F157/463 (170). Faded print. Very similar to print 127a, very slightly different pose. Very similar to print 524a. Very small oval print. Very small print. Half-length seated porrait. Very yellowed print, showing seven British officials with an unidentified Afghani dignitary. The print is stamped with a small square seal in Arabic script. Henry Bellew is seated at right, Sir Frederick Pollock second from right. Viceregal group posed in the garden of Viceregal Lodge. Lord and Lady Dufferin seated in centre, with Lady Helen Blackwood (holding monkey) at left. Miss Thynne (companion?) seated at right. The Viceroy's Private Secretary, Sir Donald Mackenzie Wallace, stands behind Dufferin's left shoulder. Major Harry Cooper (ADC) stands behind Wallace. Dr John Findlay, Surgeon to the Viceroy, stands second from the right (wearing hat). On his right stands Lord Herbrand Russell. Similar group at print 46. Viceroy's Council 1905-13. Viceroy's staff including : Major Hamilton, Captain Hon'ble C. Harbord, Lieut Creagh, Sir Donald Mackenzie Wallace, Lord Bingham, Colonel Ardagh, Captain Pakenham, Captain Streatfield, Surgeon-Major Fenn, Lord William Beresford. View from the house looking towards the guests gathered in the garden of Chini Bagh. The caption note continues: 'Qazis, Mullahs and big merchants of Kashgar mostly. 2nd from right, front row, Mir Nasir Khan, our Mir Munshi. 3rd from right Mir Ahmed Kh., British Aksakel (headman).' Another photograph taken at this garden party is reproduced in Clarmont Skrine, 'Chinese Central Asia' (London, 1926, facing p. 262). See print 24.[Printing-out paper, 135x85mm]. View looking across the foredeck, with two deck cabins in view. Full-length standing portarits of the crew and the commander of the ship, in uniforms.[Albumen print, 302x373mm]. View looking across the foredeck of the yacht, crew in naval uniforms.[Albumen print, 307x385mm]. View looking across valley towards Khalifat (Brahui Range), with group on horseback in foreground.[Gelatin silver print, 144x212mm]. View looking down onto a group of students posed in formal garden. View of a couple in a garden. View of a European couple (the man is Sconce) sitting in a howdah. View of a European man and his daughter on a verandah. View of a European man in a canoe. View of a Kota sirdar on horseback. View of a large crocodile. View of a life boat and crew near the shore. The lifeboatmen in uniforms(similar to prints 40 and 41).[Albumen print, 302x385mm]. View of a local troop on horseback. View of a man asleep in a chair. View of a polo player. View of a priest sitting under an umbrella with attendants. View of a rescue drill on the coast of Sile. The lifeboatsmen in the lifeboat and instructor ready to lauch the lifeboat. All in uniforms. The lifeboat stands on a wooden launching platform, on the shore.[Albumen print, 299x373mm]. View of a woman (Madge?) seated in a tonjaun, with bearers. View of a woman reading. View of Colonel J.L.T. Jones and crew in a rowing boat. View of Colonel J.L.T. Jones in his pony trap. View of drawing room in Lewin Bentham Bowring's house 'Woodlands', with his daughter Clara Mary Aloysia Bowring seated on the lap of a young man.[Silver printing-out paper, 172x120mm]. View of E. Rose, Field, W.A. Johns and C.W. Hodson on a railway trolley. View of European and Indonesian employees outside the Chartered Bank of India, Australia and China. The man seated in the centre is possibly a relative (brother?) of Col J.L.T. Jones. View of houses, with mountainside beyond. View of J.E. Boehm's equestrian bronze of the Prince of Wales (Edward VII) outside the Sassoon Institute in Esplanade Row. Unveiled 1879. View of Lady Hardinge talking with another woman. View of Margaret Stotherd playing golf. View of Mrs Storrs-Fox and dog walking on the path. View of Murray sitting outside a bungalow? Small faded print. View of Reginald Heath sitting in the garden outside a bungalow. View of right side of the newly-opened statue of Lord Curzon by W.H. Thornycroft on the Calcutta Maidan. Duplicate at print 28. View of roof of fort, with Francis Stephen Bowring seated on a chair, with three soldiers standing behind. Captain John Bellasis Bowring, Political Agent at Wana, was killed at Sarwekai on 20 September 1904.[Gelatin silver print, 172x125mm]. View of row of tents, with mountain behind.[Gelatin silver print, 132x178mm]. View of T.G. Glover's pony trap. View of the camp of the Oxfordshire Light Infantry, which supplied the Anglo-Siamese Boundary Commission escort. The print is very damaged, with a tear down the centre.[Albumen print, 236x176mm]. View of the deck of the ship, taken during a cannon drill. Naval officers and mariners dressed in uniforms.[Albumen print, 304x386mm]. View of the front of a bungalow, with a European group (including Murray), posed outside on the steps. Small very faded print. View of the horse-drawn carriage, with passengers.[Albumen print, 203x140mm]. View of the interior of the cannon hold of the trainee frigate ""Selimi�,"" with cannons and rifles laid out ready. A member of the crew is standing in full-length portrait view in the middle of the room, in naval uniform (the print has overall spotting).[Albumen print, 251x324mm]. View of the life-boat house in Riva, during a rescue drill. Full-length portrait view of the instructor and the crew, in uniforms. The crew is pulling the lifeboat on a slide. [Albumen print, 311x381mm]. View of the naval fire brigade, in uniforms and marching. The naval firemen marching with firefighting equipment, in a row, in front of a building (similar to print 3). The print with slight spotting.[Albumen print, 243x316mm]. View of the naval fire brigades marching, in naval uniforms and with firefighting equipment, on horse-drawn carriages. A firefighting carriage in the foreground is followed by the firemen and a naval personnel on horseback.[Albumen print, 252x325mm]. View of the quarter deck of the ship. Naval officers and mariners in uniforms.[Albumen print, 302x379mm]. View of the Viceroy, Lady Chelmsford and Maharaja sitting at a table with officials and guests behind. Individuals named from left: 'Col Verney, Military Secretary; Sir John Maffey; Sir John (J.B.) Wood; Sir E.G. Colvin, Agent to the Gov Genl; Lady Chelmsford; Lord Chelmsford; HH the Maharajah; Col Benn'. View of the wedding of the Macmillan family's ayah, with the children acting as bridesmaids. Original glass negative (damaged), no print. View of three women in an outdoor swimming pool. View of two men on horseback. View of two named Jemadars, Kaku Singh and Mangal Singh, carrying the regimental colours. View shows the father sitting with his two sons. On the left his daughter, Rita, is pouring tea. Two servants stand behind. This print has been cropped with a figure on the left (the mother?) removed. Print 25 is also probably cropped from the left of this photograph. View with three men, Thakur Bhorji of Chowkri, Thakur Rupsingh of Naila and Thakur Mehtab of Sewar, standing in front of a well. Vignette portrait of 'H.H. Coxe, Helen Coxe [and] M.L. Coxe'. Holled Wallace Henry Coxe (d. 1898), Staff Corps (late 78th Native Infantry) was at this period serving as a Deputy Commissioner in the Punjab.[Albumen print, 118x105mm]. Vignette portrait of a man sitting in his carriage. Boulderson was Assistant to the Commissioner in the Agra Division, 1860. Small faded print. Vignette portrait of a woman and her young child. W.B. Manley seated in the bows of a boat on the Dad Canal taking tea. W.H. Nightingale is standing second from left. W.H. Spalding, his wife and son, posed in a garden. Ward is standing behind and to the left of the man sitting in the centre. Of the others, only Edward Gait sitting on the left can be identified. Watercolour of an orderly of the 16th Bengal Infantry (The Rajputs) sitting in a rattan chair. The caption 'dolce far niente - poor Orderly!!' is painted above the figure. Watson's daughter? Watson sits on his pony, a syce standing on the right. Poor quality print. Wedding group, with the following identifications: Wedding group. Wedding group. The sitters are unidentified, apart from General Sir Charles and Lady Monro.[Gelatin silver print, 286x230mm]. Wedding group arranged in fonr of the Srinagar Residency. No identifications supplied. Hugh Shakespear Barnes stands directly behind the groom. Wedding group photograph, oval image. The sitters are identified as follows: Thorp; Miss Vanes (Daisy); Captain Hudson, brother of bride; Edwards; Mrs Thorp (n�e Hudson); Miss Perry. Wedding group posed in front of tent. Wedding group posed in garden, possibly at Government House, Rangoon.[204x145mm]. Wedding group posed on the terrace of Government House, Rangoon. The main participants, Maxwell Laurie and his bride, and the occasion, are identified in a note by the Laurie's daughter. Sir Herbert Thirkell White stands with Maxwell Laurie in the back row. Mrs Lauire is seated in the centre of the front row, with Lady Thirkell White second from the right. The figure standing on the extreme right is tentatively identifed as Captain Arthur Fitzgerald Sandys Hill ADC (later 6th Baron Sandys). Hill, however, is only listed as an ADC in the 1907 'India Office List'.[Gelatin printing-out paper, 271x205mm]. Wedding groups at Nagpur Cathedral and Government House, couple passing under arch formed by Lancers, etc. Wedding group with IMS officers and nurses. In 1901, Lieut-Colonel Thomas Jackson was Resident Surgeon at St George's Hospital, Bombay, and Professor of Materia Medica & Pharmacy at Grant Medical College. Wedding group with Lieut-Colonel Reilly standing third from left. Wedding of Captain Beauchamp St John to Miss Olive Herbert in Jaipur? The bridesmaid sitting in front is Miss Mackinnon, Colonel Herbert stands on the right. Wedding of W.O. Clark. The following individuals are named, left to right: '[Standing] Col Bamfield; Mr Lawrence; Miss M. Davies; Mr McCracken; Mr Merk; Miss Bamfield; Mr Fanshawe; Col McQueen; Mrs Bamfield; J.R.D.S. [Dunlop Smith]; Miss Simpson; [Unnamed man]; Mr Henderson. [Sitting] Mr Tupper; Mrs McQueen; Sir Wm Davies; Lady Davies; Sir Charles Aitchison; Mrs Dallas; B.C.A. [Beatrice Clementina Aitchison]; Dr Dallas. [Sitting on ground] Miss Burney; Miss M. Bamfield; Miss Davies; Miss Muriel Bamfield'. Wedding of W.O. Clark. The following individuals are named, left to right: '[Standing] Miss Burney, [J.R. Dunlop Smith], Mrs Laurie, Miss Boddam. [Sitting] A.G. Mayne Esq, Maude Rivaz, W.O. Clark Esq, Mrs W.O. Clark, Edith Laurie, Dr Laurie'. Wedding of W.O. Clark. The following individuals are named, left to right: 'Mr Whittingale, V Fusiliers; Mrs Whittingale; Mrs Lightfoot; Mr Younghusband, XIV BL [Bengal Lancers?]; Mrs Cope; Mr O'Meara; Mrs Lewis; Miss Ross; Mrs Howard; Col Boddam; Mr Hubbard; Miss Dallas; Mrs E.W. Parker; Gen Murray; Mrs Rawlins; Mrs Pitt; Miss Burney; Mrs Turton Smith; Maude Rivaz; Capt Peyton; Mrs Dickson; W.O. Clark Esq; Mrs W.O. Clark; Mr W. Egerton; Miss Mavis Lane; Mrs Laurie; Edith Laurie; J.R.D.S. [Dunlop Smith]; Miss Boddam; Mrs Ker; Mr Sturgess, 5th Fusiliers; Dr Laurie; Mr Le Marchand; Mr Lightfoot; Capt Pitt; Mrs Cope; Mr Mayne; Dr Dickson; Mr Hobby, XIV BL; Mrs Younghusband; Mr Parry'. Wedding photograph.[Albumen print, 63x104mm, folded down from a largeer print to fit album aperture]. Weir with his dog Zep seated on broken pillar, with Mahomed Taki standing at right. Wet-stamp on the reverse reads: 'With the best compliments of the Pirojpur Hitaishi'. Main sitters named: 'S.M. Afzal, Esq, MLA, Pirojpur; A. Haque, Esq, Dy Magistrate, Pirojpur; K.A. Chaudhury, Esq, SDO, Pirojpur; A.S. Larkin, Esq, ICS, Div Commissioner, Dacca; F.O. Bell, Esq, ICS, Dt Magistrate, Barisal; A.S. Chaudhuri, Esq, Munsiff, Pirojpur'. White and Younghusband seated in camp in front of tents, with an attendant standing behind them. Wife of General Padma Jang (? see Print 25) and female attendants. Wife of Samuel Swinton Jacob. Wilberforce-Bell and Subedar Major Sheikh Ismail are identified. William Lys was a Collector and Magistrate in Madras. With C. Belli Bivar in the saddel and R.D. Perceval holding the bridle. With Captain St Hill standing at right. With identification of sitters on reverse as follows: (1st row): Marjorie Heard; Miss ---; Elsie Macpherson; Mr Lynch-Blosse; Sheila Macpherson; Miss Ridgeway; Victoria Wingate; Miss ---; (2nd row): Mrs Y. Mackenzie; Mrs Haig; Miss Thesiger; 'Frederick' the pirate; Mrs Mary Wingate; Captain Traesar [?]; Peggy Harrison; Colonel H. Ross; (3rd row): General Ridgeway; Capt ---; Mr Macpherson; Major Roach; Captain Butt; Mr Andrew Irving (?); Mr Skrine; Major Lord; Captain Raynor; Mr Atherley; (4th row): Mrs Roach; Miss Mackenzie; Stevens; Miss Hutchinson; Mrs ---; Joan Watson; self [Nellie Dane]; Doris Watson; Mrs Ross; Mrs Sheepshanks; (5th row): Mr Drake; Mr Johnson; and seven sergeants. With men of the Pretoria Rifles posed in front of the building. With the bag of dead birds laid out on the ground in front of thr party. With two unidentified European women seated in group. Woman (A.P.) seated at roadside. Woman and two children on steps of house. Small snapshot. Woman identified as A.P. seated in woodland. Woman identified only as 'C.N.' photographed on the deck of the houseboat Rustom. Woman identified only as 'C.N.' sitting on the prow of the houseboat Rustom. Woman identified only as C.N. wading in the river. Woman offering to carry home purchases from the bazaar. Woman sitting with tame leopard in Residency garden. Woman standing on footbridge. No further identification supplied. Women missionaries pose on steps of mission building.[Gelatin silver print, 98x78 mm]. Womn identified as 'V.N.' posed on a rock, with the lake behind her. Young girl posed in garden. Young girl with her belongings on the verandah of a house. Young man posed beside Burmese carved figure in the Eden Gardens. Facing p. 16. View of local shops, situated at a crossroads beneath the shade of a large tree. Facing p. 30. View looking along a street towards the mosque, with a group posed in the foreground, facing the camera. Panoramic view composed of two joined prints, looking over the town, with the Shwesandaw Pagoda on the right and the Irrawaddy in the background. The right-hand section of this view corresponds fairly precisely to Colesworthy Grant's watercolour (WD 540, print 6), which appears to have been taken from the same spot. Letterpress continues: 'Taken from a height S.E. of the town. the Pagoda on the hill to the right, is the Shwe San-dau, or 'Golden Hair' one of the most sacred places in Burmah. It enshrines a hair of Gautama'. Panoramic view looking towards Paris, composed of two joined prints, with a river running across the middleground of the photograph. Snapshot of an Indian street scene with shops and group in foreground. View from the Ochterlony Monument looking north-west across the Maidan towards Government House and the River Hugli beyond. The tower and spire behind Government House belong to St John's Cathedral. The photograph is unsigned and uncredited, but it is likely that it is by Rowe's, since Bowring acquired numerous prints of his work, and Rowe is known to have photographed from the top of this monument on several occasions.[Albumen print, 355x235mm]. View looking across the flat rooftops of houses towards a large building, possibly a tomb, in semi-ruinous condition. View looking over the rooftops of Amritsar. Distant landmarks are identified by annotations above the print: 'Baba Atal Ka Dera, minarets of Golden Temple, Clock Tower, Govt School'. See also Print 6. View looking over the rooftops of Amritsar. Distant landmarks are identified by annotations above the print: 'Lady H. Lawrence Girls' School, Municipal Public Buildings, Moh. Jan's Mosque'. See also Print 5. View of a street lined with small wooden houses and shops, with figures posed in the foreground. View of street trader's stall, selling baskets and other woven goods. View of street traders' stalls, with figures posed for the photographer. View across a field and stream towards the small stone house: 'This shattered dwelling stands on the first Bull Run battle ground, by the side of the turnpike leading from Centreville to Warrenton.