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Lot Essay
The waterfall of Papanasam, on the river Tumrabunni, is situated in the Tinnevelly district above Cape Comorin.
Thomas and William Daniell visited the waterfall on 31 July 1792, residing there for two days before moving on. (A sketch dated 3 August 1792 is inscribed 'Vannar Thothon - the waterfall about twenty five miles from Papanasam'; see The P. & O. Collection, Christie's, London, 24 September 1996, lot 72).
The waterfall inspired fervent activity from the artists, and a total of fifteen different sketches were completed (see M. Shellim, The Daniells in India and the Waterfall at Papanasam, 1970, pp. 45-6). Upon their return to London Thomas painted four oils of the waterfall, but the aquatint of the subject, published in series IV of Oriental Scenery (pl. 2; see M. Archer, India and the Daniells, London, 1979, p. 47), was presumably based on a collaborative project; accordingly, we can understand the present watercolour to be the same.
The text accompanying the aquatint conveys the Daniells' excitement upon confronting this natural marvel: 'Nothing can be more grand and impressive than when...this extraordinary scene bursts into sight. It would be difficult for those who have never seen a vast river precipitated down a rock steep of considerable elevation, to form an adequate idea of such a spectacle, accompanied by a noise so tremendous...Upon the minds of Hindoos, who attach ideas of a religious nature to these objects, such scenes must operate with great effect, and powerfully stimulate their piety. Indeed their prostrations, and other anticks of enthusiasm, on first beholding this tremendous object, are evident proofs of the intensity of their feelings'.
Thomas and William Daniell visited the waterfall on 31 July 1792, residing there for two days before moving on. (A sketch dated 3 August 1792 is inscribed 'Vannar Thothon - the waterfall about twenty five miles from Papanasam'; see The P. & O. Collection, Christie's, London, 24 September 1996, lot 72).
The waterfall inspired fervent activity from the artists, and a total of fifteen different sketches were completed (see M. Shellim, The Daniells in India and the Waterfall at Papanasam, 1970, pp. 45-6). Upon their return to London Thomas painted four oils of the waterfall, but the aquatint of the subject, published in series IV of Oriental Scenery (pl. 2; see M. Archer, India and the Daniells, London, 1979, p. 47), was presumably based on a collaborative project; accordingly, we can understand the present watercolour to be the same.
The text accompanying the aquatint conveys the Daniells' excitement upon confronting this natural marvel: 'Nothing can be more grand and impressive than when...this extraordinary scene bursts into sight. It would be difficult for those who have never seen a vast river precipitated down a rock steep of considerable elevation, to form an adequate idea of such a spectacle, accompanied by a noise so tremendous...Upon the minds of Hindoos, who attach ideas of a religious nature to these objects, such scenes must operate with great effect, and powerfully stimulate their piety. Indeed their prostrations, and other anticks of enthusiasm, on first beholding this tremendous object, are evident proofs of the intensity of their feelings'.